Journal articles on the topic 'Epistolary formula'

AbstractThe concept of sincerity has links to honesty, openness, and authenticity, including of feelings. As expressions of sincerity become formalized in epistolary practice, however, a tension arises between sincerity and the articulation of it. An examination of a corpus of private family letters in French and Spanish from the eighteenth and nineteenth centuries shows that use of the word ‘sincerity’ is much more common as an epistolary formula in French, where it had a broader semantic range, while authors writing in Spanish use other methods to index truth and emotional openness. The most frequent users of this formula are shown to be less skilled writers and bilinguals writing in their second language, suggesting a greater reliance on preconstructed formulae, especially in situations of increased linguistic and social distance. Finally, some bilingual authors transfer the pattern into Spanish, indicating that fixed phrases and formulae are available in a bilingual’s linguistic repertoire for pragmatic redeployment.

The letter, as the format of twenty-one of the twenty-seven documents in the canonical New Testament, is arguably the literary form which has played the most significant role in the history of Christianity. But scholars have often been troubled by how to treat the conventions framing Christian letters: since little of Christian literature from its earliest time to the medieval period escapes the influence of classical traditions of rhetoric, can constant epistolary formulas be taken as expressions of genuine sentiment? In fact, it is precisely because the lines between classical influence and Christian innovation are so difficult to make out that E. R. Curtius was able to argue that the humility formula of medieval charters, for so long assumed to have originated in Paul, was in fact a pagan Hellenistic prototype like scores of other rhetorical conventions. His study of the formula serves, Curtius writes, to ‘furnish a warning against making the Middle Ages more Christian or more pious than it was’, and to demonstrate that ‘a constant literary formula must not be regarded as the expression of spontaneous sentiment’. So the entrenchment of rhetoric in letter-writing is often set in opposition to genuine Christian feeling, commonplace utterance against living expression, empty verbiage against religious sincerity.

Abstract This article queries whether Paul wrote Galatians with reference to epistolary conventions for ironic letters. First, the author explores the use of the θαυµάζω + conjunction “epistolary formula” in the non-literary papyri to determine the relationship between this expression, irony, and Gal 1:6. Then, he weighs the evidence for an ironic reading of Gal 1:6 itself before turning to the extant ancient letter writing handbooks to assess the extent to which Gal 1:6 meaningfully parallels the ironic letters in the handbooks. The author argues that while an ironic reading of Gal 1:6 is plausible, there is no evidence that Paul has crafted Galatians with reference to epistolary conventions for ironic letters.

This article explores the history of yours sincerely and yours affectionately as closing formulas in letters. It focuses especially on the rise of the formulas in the eighteenth century, tracing their origin as positive politeness devices which took the place of the pragmatised standard epistolary formula Your most obedient humble servant. The article will also try to find evidence for John Gay (1685–1732), writer and poet, being a linguistic innovator in terms of the research model of social network analysis as developed by Leslie Milroy (1987). It will be argued that John Gay might have been responsible for the adoption and subsequent spread in usage of the formula within his own social network, comprising Pope, Swift and Lady Mary Wortley Montagu.

The aim of the paper is to analyse two Spanish greeting formulas derivated from the atelic predicate besar las manos (y los pies) ‘to kiss the hands (and feet)’, which, despite their apparent formal resemblance, came to codify totally opposite socio-pragmatic values. Through the systematic search in epistolary texts until the beginnings of the 20th century we will try to find (i) the socio-pragmatic factors that play the most important role in each type of greeting; (ii) the paradigmatic origin of each formula, and (iii) their sociocultural distribution.

AbstractThis article is concerned with the history of yours sincerely, a popular closing formula in English epistolary discourse. The formula was already used sporadically in the seventeenth century, gradually increased in frequency in the Late Modern period, and was the preferred subscription in English business correspondence by the end of the 1950s. This study investigates patterns of usage of closing formulae in a bestselling business letter-writing manual William Anderson’s Practical Mercantile Correspondence, A Collection of Modern Letters of Business, etc., whose first edition was published by Effiingham Wilson in 1836 in London. The first half of the nineteenth century was a period during which sincerely appears to have been gaining in popularity. The analysis of the repertoire of the closing formulae in Anderson shows that sincerely was starting to compete with truly for the same slot within the matrix of the extended type of closing formulae. This competition of sincerely with truly can be read as an indicator of a larger social and cultural change, which saw the rise of sincerity, reinterpreted as genuineness of feeling, as the new cultural buzzword.

В статье на основе неопубликованных фронтовых писем и нескольких опубликованных сборников, содержащих около 500 текстов, рассматривается эпистолярий Великой Отечественной войны. Отмечается его неоднородность: существование в нем двух категорий писем в зависимости от социальной дифференциации адресантов и связей их с разными слоями национальной культуры. Основные различия при общей жанровой этикетности проявляются в степени использования готовых форм, стереотипности содержания и формы, а на речевом уровне - в степени формульности и клишированности. Различия касаются также круга используемых формул и характера их функционирования. Для писем людей книжной культуры характерен лаконизм в использовании клише; владея всем набором коллективно выработанных этикетных формул, адресант распоряжается ими свободно, выбирает одну в зависимости от контекста или не пользуется ею совсем. В корреспонденции солдат коллективно выработанные этикетные формы в структуре письма занимают бóльшее место. Расширение этикетной части происходит за счет приемов, характерных для коллективного творчества. Прозаический текст может дополняться эпистолярными стихами, распространенными в бытовой народной переписке. Выявлению стилевого разнообразия может способствовать изучение фронтовых писем в контексте всей массовой эпистолярной традиции, поскольку многие эпистолярные формулы сложились еще до войны или существовали уже в начале века. This article examines the epistolary heritage of the Great Patriotic War based on unpublished front-line letters and several published collections of them, in all about 500 texts. The letters are heterogeneous and may be divided into two categories, depending on the social status of the writers and their connections to different strata of national culture. The main differences in etiquette are manifested in the quantity of ready-made forms; stereotyped content; and at the speech level - in their degree of formality and use of clichés. The differences also relate to the range of formulas used and the way they function. In the letters by people of book culture, laconism in the use of clichés is characteristic; these writers are able to make use of the entire range of collectively developed etiquette formula and to dispose of them freely, depending on the context. In the correspondence of soldiers, collectively developed forms of etiquette occupy a larger place. Increased use of these forms is due to techniques characteristic of collective creativity. The prose text may be supplemented with epistolary verses common in everyday folk correspondence. Identifying stylistic diversity can aid the study of front-line letters in the context of the entire epistolary tradition insofar as many epistolary formulas were formed before the war or existed at the beginning of the century.

In the paper, a formal form of proposing services evidenced in Polish epistolography of the 17th and 18th cen-turies is described. The formal and semantic structure of the formula and its evolution has been presented to show, among other things, that in the 17th century the said formula was an integral whole with the formula of applying oneself to grace, e.g. oddawać (zalecać) usługi łasce (‘apply (propose) service to grace’) whereas in the 18th century it was associated with the category of responsibility, e.g. być w obowiązku usług (‘be obliged to serve’) and it assumed new forms such as czekać na rozkazy or czekać rozkazów (‘await orders’). Moreover, it has been indicated that the service formula was also related to other acts of Middle Polish epistolary eti-quette and the nobility politeness model at that time.

<p>The article makes the first ever attempt to carry out a systematic examination, based on the historical, publicistic, poetic and epistolary body of work of Tyutchev, of the interrelation of different levels and aspects of the concept of &ldquo;Russophobia&rdquo;, introduced by the poet. His fundamental concern with the hierarchic relation of Christian ontology and anthropology, with historical processes, with different results of dynamics of the theocentric and anthropocentric perception of existence and history in Russia and in the West is emphasized. It is shown in the article how the analysis of the religious, historical, cultural, anthropological mainstays leads Tyutchev, in his own way, to Pushkin&rsquo;s conclusion that the history of Russia, as compared to the history of Europe, needs a &ldquo;different thought, different formula&rdquo;. It&rsquo;s demonstrated how different interpretations of those mainstays cause issues, discords.</p>

The language creating by M. Kotsiubynskyi is rightly considered an outstanding phenomenon in the development of the Ukrainian literary language. The writer's epistolary covers a fairly wide range of addressees, among whom were his friends and casual acquaintances, the author was not spiritually close and unanimous in views with all addressees, sometimes he communicated exclusively on an official level. Kotsiubynskyi corresponded with almost all prominent personalities of that time, so his epistolary heritage contains many interesting facts about the history of the publication and distribution of Ukrainian books, the history of censorship repressions, etc. The works of S. Antonenko, S. Bohdan, S. Hanzha, I. Hryhorenko, N. Zhuravlova, O. Kalyta, M. Kotsiubynska, V. Kuzmenko, K. Lenets, A. Nairulin, S. Sviatovets, I. Fokina are devoted to the issues of poetics, the reception of the epistolary genre and style, and the study of the epistolary of writers. Language and etiquette formulas of the epistolary heritage of Mykhailo Kotsiubynskyi are studied in the article. The following formulas of speech etiquette have been analyzed: greeting, adressing, farewell, apology, request, postscript. Etiquette formulas take an important place in the writer's epistolary. The special features are the use of adressing in the exclamatory form, traditional formulas at the beginning and end of letters, the use of formulas of greetings, apologies, requests, and postscripts. The author is characterized by ease in choosing certain language means and immediacy in expressing emotions.

<p>One of the most important issues in the study of the functioning of the Internet language is the definition of the features of each Internet genre presented in online communication, taking into account the linguocultural features of the language in question. This paper studies the genre of the Internet comments of the Arabic-speaking blogosphere and reveals its stylistic features. The most common goal of the comment is gratitude, followed by praise. We created a corpus of comments from blogs of various subjects, and then conducted the tagging, having identified the group to which we attributed a comment, depending on the subject and the communicative goal. With the help of the Lexico 3 software, the most frequent lexical units were identified, the lexical features of the comments were described, the main one being the widespread use of religionyms, and the relationship between the blog subject and the stylistic characteristics of communication was revealed. The article traces the correlation between the literary and colloquial functional style in the comments, and also draws a conclusion that the comments are of a conversational, informal character. The main devices of expressiveness that are characteristic for both network and pre-network communication were revealed, and the tendency of the analysts to observe in the comments a stable three-part composition (greeting, message, final formula). The influence of traditional Arabic rhetoric, as well as the epistolary genre, was preserved. The results of the paper can be used when studying other genres of Internet communication in Arabic and in comparative studies to create the linguistic software.</p>

Closing epistolary formulae in Polish and Russian private correspondence (exemplified with postcard messages) The article presents an analysis of the closing formulae used in Polish and Russian letters written on postcards in the second half of the twentieth century and at the beginning of the twenty-first century. The study aims to characterize and compare the structure and pragmatic characteristics of this component of the epistolary text, as well as to discuss its functions. The analysis proves that there exists a similarity of the final formulae in both languages as well as a similarity to the formulae used in traditional letters.

Resumo: O objetivo deste ensaio é analisar a correspondência de Ronald de Carvalho (1893-1935) a Mário de Andrade (1893-1945) a partir dos instrumentais hermenêuticos inerentes ao estudo epistolar (sua pesquisa, edição e ato crítico-analítico). A proposta da leitura foi considerar os exemplares hoje preservados em relação à complexidade da década de 1920, às formas de narrar o modernismo e à multiplicidade de discursos ali enunciados. Assim, do conjunto de nomes, obras e temas recorrentes neste específico diálogo é possível formular a hipótese segundo a qual as cartas - mais do que simples depósito de informações – evocam os significados simbólicos centrais do programa modernista brasileiro.Palavras-chave: Ronald de Carvalho; Mário de Andrade; cartas; modernismo; crítica. Abstract: The aim of this essay is to analyze the correspondence between Ronald de Carvalho (1893-1935) and Mário de Andrade (1893-1945) based on hermeneutical instruments inherent to the epistolary study (the research, edition and critical-analytical act). The purpose of the analysis was to consider the materials currently preserved in relation to the complexity of the 1920s, to the modes of narrating modernism and to the multiplicity of discourses therein. Thus, from the set of names, works, and recurrent themes in this specific dialogue, it is possible to formulate the hypothesis that letters - rather than simple deposits of information – evoke the key symbolic meanings of the Brazilian modernist program.Keywords: Ronald de Carvalho; Mário de Andrade; letters; modernism; critique.

Wray (2002) distinguishes three main functions of formulaic language relating to processing, interaction and discourse marking. In this paper, we show that Wray’s analysis of the functions of formulaic language also applies to historical letter-writing in a corpus of seventeenth- and eighteenth-century Dutch letters. Discourse is marked with formulae indicating the text type or the text structure. Interaction is covered by intersubjective formulae communicating health, greetings, wishes for renewed contact, as well as Christian-ritual formulae. The processing function is operationalised in terms of literacy and writing experience, assuming that the use of prefabricated formulae reduces the writing effort. Therefore, we expect less-experienced letter-writers to use more formulae than more-experienced writers. We will show that less-experienced writers are indeed more likely to use epistolary formulae, and conclude that Wray’s “reduction of the speaker’s processing effort” in online speech production, also applies to written seventeenth- and eighteenth-century Dutch.

This article is devoted to analysing the means of communication through correspond-ence between Ivan Ohiienko and male/female representatives In particular, аttention is being given to the various levels of communication behavior, which refl ect a stereotypical view of gender roles in in the course of speech communication. This article stipulates that the emotional and evaluative language is predominance in communication with women. The article explores that Ivan Ohiienko employs essentially lexemes, which have neu-tral and estimated meanings during correspondence with men. The article determines the major word usage of etiquette formulas of the accosts, which express special respect and gratitude to the addressee. Analysis of the text array showed that Ivan Ohiienko commonly used the diminutive forms, which are related to parametric representations (about the proportions, that is. an indication of the size is given), phraseological constructions, which emphasize metropolitan’s language. The article determines, that rhetorical questions, ex-clamation sentences, which added excessive expressiveness are аn important means of argument impact on men or women in the letters of Ivan Ohiienko and provide a mecha-nism for pragmatic impact on gender model of the world. Ivan Ohiienko used attitudinal, instructive sentences in almost every letter to men or women Mostly etiquette formulas of the requests are accompanied by imperatives (with request, will you please, you are welcome) The article acknowledges that emotional explanations and deeper exposure of internal emotions of Ivan Ohiienko to the depicted events are displayed through the usage of situational lexical and stylistic tools (specifi cally irony, which provides displaying of the specifi c form of critical reality perception), insert constructions, repetitions, etc. Ivan Ohiienko is characterized as a skilled literary critic, editor, stylist, describing the accom-plishments of his female colleagues, friends, in the letters to women.

The syntactic structure of the final etiquette formulas in letters (FEF) is analyzed on the basis of the Russian epistolary of the 19th century. It is shown that FEF are diverse in structure, but they are often simple sentences. Typical for FEF is the inclusion of the addressee's self-nomination in the role of the subject; the use of verbs in the first person, indicating the addressee and implementing the textual category of dialogization. Also, FEF in letters are represented by complex sentences of different types, complex syntactic constructions, and overphrasal unities

Abstract The editions of previously unpublished texts from the monastic complex at Wadi Sarga in the collection of the British Museum. These fourteen ostraca bear writing exercises (‘school texts’), primarily alphabets and alphabetic letters or sequences, personal names, and epistolary formulae. Such exercises were not included by W.E. Crum and H.I. Bell in their 1922 publication of texts from the site.

Recent investigation of the Pauline corpus has brought into focus several important facets of Paul's rhetorical skill. It is now generally recognized that Paul knew and used the forms and techniques of classical rhetoric. Various analyses of 1 and 2 Thessalonians, Corinthians 1–4, Galatians, for example, have reinforced the conviction that Paul consciously constructed his letters using rhetorical patterns and appeals. This type of investigation does not, however, operate in opposition to the epistolary analysis that was pioneered by Robert Funk and others. Indeed, attention to epistolary clichés and formulae proves especially valuable in reconstructing the ‘rhetorical situation’ of each letter, since these provide a road map of the conversation between Paul and his partners, indicating, for example, what is prior shared knowledge, what is new information and what are the points of controversy in the matters discussed.

This paper presents (in the form of transcription and translation) a letter written by a humanist and classical scholar, Iustus Lipsius (1547–1606), which its Cracow editor entitled Epistola erudita (1602). The rhetorical analysis of this text is based on Lipsius’ treatise Epistolica institutio (The Principles of Letter-Writing). The main problem concerns the role of traditional rhetoric in epistolography, especially if the letter is not reduced to a formal document built of template formulas. Early-modern epistolography (Petrarca, Erasmus, Lipsius, Vives) revives the ancient tradition of writing letters, according to which a letter is a kind of written conversation. It gives the sender and the addressee a unique opportunity to meet each other in the symbolic universe of the text.

Cross-Сultural communication cannot exist without interaction, both oral and written. One of the types of written communication is epistolary text. This paper considers one kind of epistolary texts, the so-called ‘dead letter’, i.e. a letter which cannot be delivered to the recipient because this person does not exist. The author introduces the term ‘phantom letter’ since a corresponding term has not been found in the Russian language, besides the existing English term ‘dead letter’ does not fully reveal the phenomenon under discussion. The materials of the article are 14 personal letters and 24 literary texts in the English language belonging to the cultures of Ancient Egypt, the USA, Great Britain and Israel. The methodology of the research is based on the discourse analysis of the personal and fiction discourses. The following types of ‘phantom letters’ have been studied: letters to the dead, letters to the future generations and literary texts which are letters to some famous historical or fictional characters. Special attention is paid to various reasons why people have been writing such epistolary texts: the writer may do it on practical grounds, as a form of trauma counselling and/or resurrecting the loved one or information. As for the literary texts, the author’s aim is to create a humorous effect since all these letters are parodies. Chronotope is also considered, which is especially important in letters to the dead and letters to the future. Discourse formulas typical for some types of phantom letters have been analyzed. The last part of the paper deals with precedent texts, because understanding of fictional dead letters is drawn entirely from the knowledge of precedent. The conclusion states that there are various types of phantom letters in various cultures, they are normally personal and they are written for various reasons, however, they possess common features. Some prospects for further study in this area are also outlined.

The purpose of the paper is to study the peculiarities of implementation of such textual categories as completeness, connectivity, dialogization in electronic letter. Object of study is electronic correspondence and the subject is the style, structure, syntax of letters. Material of the research includes published letters of the Doctor of Physical and Mathematical Sciences, Professor R. G. Barantsev to colleagues and friends, as well as their response letters. Descriptive method, methods of contextual and communicative-pragmatical analysis are used in the research. Practical application of the research is possible while teaching the syntax and stylistics of Russian language. Conclusion: speech implementation of a number of textual categories in electronic letters has its own characteristics. Such boundary demarcators of the epistolary text as address, signature, etiquette formulas of greeting and farewell are reducing (in whole or in part) if the exchange of messages is frequent, thereby the formal completeness of the text is weakening. The dialogization in electronic correspondence is formed not only by the linguistic means typical for written messages (address, signature, pronouns and verb forms of the 2nd person), but also in other ways, such as direct quotation instead of transmitting someone else's speech as direct or indirect speech, language game as a stylistic device that forms a certain tone of communication. The widespread use of incomplete and one-compound sentences, pronouns that are not related to the antecedent, increases the importance of common apperception base of the participants in communication for understanding the text and continuing the epistolary dialogue. Specifying the subject of speech by pronouns with the absence of its introductory nomination in a letter, sending to previous texts of the correspondence by pronouns and particles, stylistic unity within the chain of letters exchanged between two correspondents are the means that enhance the coherence of the text, extend it beyond a separate letter and transform the exchange of monologue texts into a continuous epistolary discourse.

Renaissance humanists modified rather than rejected the medieval adaptation of classical rhetoric to letter writing, but they came to scorn the “barbaric” grammar of the ars dictaminis. This development followed the widespread dissemination through printing, beginning in 1471, of the Elegantiae of Lorenzo Valla and its imitators. Niccolò Perotti incorporated Valla's approach to language in a section on epistolography of his Rudimenta grammatices, and soon letter writing and elegantiae became closely associated in textbooks. By about 1500, not only medieval writers but even humanist pioneers of an earlier generation and contemporary professionals who dared to defend established epistolary etiquette were under attack. By 1522, when Erasmus published his De conscribendis epistolis, medieval formulas had become merely comic.

It is known that the liturgical recitative is performed according to certain melodic models (the so-called tones), conforming to the syntax of the text. Each melodic model consists of the following melodic elements: the main sound with which most of the text is sung, cadence formulas marking the completion of the entire chant and the end of phrases, as well as initial formulas for the beginning of the whole recitative and separate sentences and phrases (intonation and reintonation). Due to its formulaic nature, the melodies of the liturgical recitative are not usually fixed in liturgical books: the singers will easily perform the recitative using a small number of melodic formulas, previously learned in accordance with the syntax of the text. At the same time, the performance of the liturgical recitative varies somewhat from one musical and liturgical tradition to another. In some written sources, the liturgical recitative still receives musical notation, complete or partial (discrete). The varying degree of detail in the music recording allows the melody to be restored more or less accurately. Our focus is on discrete non–linear musical notation, which, in combination with grammatical punctuation marks, allows us to restore the recitative's melody quite accurately. This is possible only with a very well developed punctuation system, which is somewhat different from the modern one and focuses on marking syntactic units of different levels. Such notation can generally be called hybrid — non-alternating-prosodic notation. We propose to demonstrate all this by the example of a handwritten Epistolary (a liturgical book containing the first readings of the mass) from the beginning of the XVIth century from the Russian State Library in Moscow. This unique monument of culture as well as book and church-singing art, which has an accurate attribution of time and place of origin, is in excellent preservation. On the one hand, this manuscript represents a regional tradition of singing liturgical readings, on the other hand, it accumulates the general principles of the written transmission of the Latin liturgical recitative.

The purpose of the study is to define the lexical and grammatical features of the final etiquette formulas in Russian letters of the 18th century, to describe the functional and semantic types of formulas, to characterize their syntactic structure. The object of study is letters addressed to different persons by the outstanding Russian commander A. V. Suvorov and Princess E. R. Dashkova. The research material is 120 enclosed etiquette formulas extracted from letters with a continuous sampling method. The descriptive method of research has been used in the article. Practical application is possible in the process of teaching the stylistics of the Russian language. Conclusions: The final etiquette formulas are an important structural element of the ending of a letter, usually preceding the signature of the addressee. We have identified the following functional-semantic types of final etiquette formulas in Russian letters of the 18th century: 1) formulas of forgiveness; 2) formulas of wishes (wishes of physical and mental health, God's help and blessing); 3) parakinesthetic final etiquette formulas (verbal transmission of a gesture or an action); 4) honorific final etiquette formulas (direct or indirect indication by the addressor the addressee's positive qualities). The basis of the construction of the final etiquette formulas often lies in one or another speech cliche, however these cliches are spread by dependent syntactic components, as a result of which the final etiquette formulas in the letters under study are diverse in their syntactic structure. The perspective of the present study is in the research of the dynamics of the final etiquette formulas of writing in the epistolary of the 18th – 20th centuries, as well as in a more detailed explanation of the pragmatics and functioning of the etiquette formulas depending on the nature of the communicative situation.

AbstractThe present article demonstrates how research on confiscated late-seventeenth-century letters allows us to gain insight into linguistic practices of second and third generations of Dutch-speaking migrants who lived in the German city of Hamburg, in a predominantly Low German region. The historical background of the preserved Heusch correspondence, spoken and written communication in merchant circles, and foreign language learning will be discussed. Apart from examining features such as epistolary formulae, ellipsis, and code switching, the question is also addressed of the degree to which interference from Low (or High) German is found. An analysis of the letters reveals both adoption of the Low German reflexive pronoun sick and a diverse pattern of using the relative particle so, which is shown to be a clear case of adopting (and maybe even extending) a supraregional German relativisation strategy.

AbstractA study of the Lachish letters (ostraca) that goes beyond treating conventional formulae as simply epistolary phenomena or scribal preference shows that such language, along with other forms of language expressed in the letters, reflects a culture of high politeness. However, this culture is not restrictive. The senders also feel free to express their opinion and even criticise the recipient at times, with a corresponding reduction in respectful language. Such adjustment of language use to topic and/or emotion explains the variation in both conventional and other forms of polite language. When compared to biblical narrative and prayer, the letters affirm the biblical portrayal of social relationships. That is, the biblical portrayal of generally high politeness to a social superior or deity yet freedom to express opinion and criticism, along with the reduction in politeness that naturally occurs, with it reflects social reality of the time.

La relación epistolar que surge entre Isabelde Bohemia y René Descartes suele servisitada y examinada como una estrategiade lectura que buscaría aclarar y explicar laspremisas de la filosofía cartesiana. No obstante,la princesa palatina formula una visióncrítica sobre cómo el alma del ser humanopuede determinar los espíritus corpóreos conel fin de ejecutar acciones voluntarias. Talescríticas sobre la determinación de los movimientosentre el alma y el cuerpo tendránrepercusiones sobre lo que puede denominarsecomo una propuesta materialista decorte interaccionista. Algunos efectos de estaconsideración material del alma implican: i.una calificación cognitiva sobre el vínculoentre las pasiones y la razón; ii. la valoraciónde la fuerza de las pasiones en la búsquedade un summum bonum; y, por último, iii. laidentificación de un problema central en lamodernidad, la inestabilidad e imposibilidadpara establecer un summum bonum resultadodel enfrentamiento entre individuos arrogantesy modestos. Los efectos de la preferenciae inclinación de Isabel de Bohemia sobre lamaterialidad del alma demuestran entoncesclaves de lectura centrales sobre el cuerpo yla materia para pensar la formulación de lateoría política en la temprana modernidad envínculo con Hobbes, Gassendi y Maquiavelo.

So far, the collection of letters of Maximos the Confessor (580–662) has not been studied from the point of view of philology. The purpose of this article is to analyse Maximos’ letters as examples of epistolary prose and to find out the extent to which the author follows the etiquette norms of letter writing developed in the Early Byzantine Period. The attention is focused on three motifs related to the theme of friendship: the illusion of friend’s presence; unity of souls; reproach for the lack of letters. It has been shown that Maximos was aware of the letter etiquette norms, and that his letters contained a number of motifs and formulae belonging to the Early Byzantine tradition, but at the same time, Maximos rethought and transformed some already established commonplaces, sometimes entering into a dispute with the previous tradition. In addition, it has been demonstrated that Maximos’ letters contain motifs and clichés correlating with not the Early Byzantine tradition, but rather the letters of later authors, such as Michael Psellos, Theodore Prodromos, and others. It has been supposed that Maximos’ letters influenced later authors, thus forming a link between the Early and Middle Byzantine epistolography.

La novela epistolar La città e la casa (1984) de Natalia Ginzburg aborda, como varias de las obras tardías de la autora, la crisis de la familia tradicional pequeñoburguesa. En particular, se analizarán las diferentes imágenes que se desprenden del concepto de casa presentes en la novela vinculadas a la melancolía, en las que es posible evidenciar la dicotomía entre el ámbito del hogar y del trabajo que resguarda la ilusión de felicidad doméstica de sus protagonistas. Esta dicotomía permite reflexionar sobre la hipótesis de análisis acerca de la escisión entre la esfera pública y la privada que afecta a los personajes pertenecientes a las clases medias urbanas de la novela y sobre la función social de esta obra como testimonio histórico de su tiempo. Una reflexión sobre el sentido de derrota que se desprende de esta novela está en consonancia con el pesimismo que caracteriza a la amplia producción ficcional y ensayística de la obra de Ginzburg, en personajes invadidos por el tedio, cuyas dificultades de formular sus crisis –en este caso– se cristalizan en diferentes mudanzas, a través de las que se proponen escapar de su alienación

The article is devoted to texts which appeared in connection with the cult of Tsarevna Sophia Alekseyevna (1657-1704). It has been established that the veneration of Sophia, associated with the Moscow Novodevichy Convent, did not start until the 21st century. An analysis of the prehistory of this cult shows that before the revolution, in Soviet times, the the Novodevichy Convent preserved the memory of Sophia and displayed objects associated with her, yet this memory of Sophia was of a local history nature. Elements of religious worship were not present there. At the beginning of the 21st century, a certain cult arose around one of the Convent’s towers: people who came there wrote messages addressed to Sofia on the wall. It was a secular cult that was not supported by the Church, so there are no well-composed prayers to Sophia, on which the authors of the inscriptions could have relied on. A study of the corpus of inscriptions copied in 2010-2014 shows that these texts were written in Russian, but their authors used stylistic markers, which, in their opinion, endowed these appeals with the status of a prayer. The language and stylistic features of the inscriptions are openly eclectic in nature: here one can notice both prayer formulas and attempts to imitate conjurations, as well as appeals to the modern epistolary style. Moreover, the authors of the texts were convinced that they were writing correct prayers addressed to the saint.

The article describes the preconditions for the establishment of the collegium of the Society of Jesus in Lviv in the second half of the 16th century. By analyzing the existing sources and studies on the history of the Jesuit order, it is relatively easy to notice a significant bias in favour of studying their educational activities. At the same time, almost no studies exist which could illustrate the development of the facility itself in the context of the events of those times. Hence, there is a great number of terminological and factual inconsistencies, as well as the interpretation of Jesuits’ activity only in terms of their educational work. In this regard, the aim of this article is to make an attempt to research the preconditions for the establishment of the facility of the Society of Jesus in Lviv as based on the existing sources. Moreover, the main goal of this article is to establish the objectives and plans of the order to establish a local facility in Lviv on the basis of the sources. The sources published by the order itself play a significant role in addressing the issue. Firstly, these are the statutory documents of the Jesuits — the Formulas of the Institute of the Society of Jesus (consist of apostolic letters issued by Pope Paul III and Pope Julius III) and the Constitution of the Society of Jesus. Due to these documents, certain terminological issues may be clarified in the first place, as well as the functioning mechanism of Jesuit facilities. The epistolary heritage of the order is of no less importance: in particular, the one where the ongoing cases of that time are addressed. After analyzing the already published documents, it can be noted that the order had completely separate plans to develop their network, and teaching different sciences to children was not their only aim. Instead, the Polish-Lithuanian Commonwealth was considered to be a territory for missionary work and further movement to the East. Furthermore, the plans to establish a facility of the order with a status of the college in Lviv can be traced long before the official invitation of the first monks to Lviv. Considerable attention is paid to the interpretation of the notion of “college,” which is important for understanding the motives of the establishment of the Society of Jesus facility in Lviv and explains its further activity. On the basis of the results obtained in the article, necessary conclusions are made in order to conduct further studies.

Background. An important genre-forming structural element of epistolary text is theindication of an addressee, which can come in a direct, address, metatextual or indirect address. Various ways of the addressee indication in the letter seeking to establish contact between theparties of epistolary communication, are united by the term epistolary vocative. If the addressermultiply names their addressee within one letter, such addresses build a system of addressnominations that are qualified in our research as a polyvocative. Keeping in mind the fact that such systems (polyvocatives) are very diverse and arranged in a specific way, the relevance of our linguistic research lies in their exploration and classification.Purpose. We seek to describe the structural types of the epistolary polyvocative and explorethereupon its main functions. Methods. A descriptive method was used to define the system of the letter’s constructivefeatures and to form the core of polyvocatives. Epistolary vocative typology building, and thedescription of its components’ vocabulary were done by means of linguistic modeling.Results. We have identified three structural types of the polyvocative: framed, scattered andcombined. The framed polyvocative consists of two addresses, the first of which commonly opensthe letter and the last one accompanies the final etiquette formula and the addresser’s signature. The framed polyvocative can be doubling (both addresses are similar), reduced (the second addressdoes not contain certain components of the first one), expanded (the second address contains extracomponents) and modified (the components are totally different). The scattered polyvocative contains two or more addresses spread over epistolary text, in which case the last address does not belong to the letter ending. The scattered polyvocative can be homogeneous (containing one-type addresses) or heterogeneous (containing various types of address). The combined polyvocative comprises three and more addresses; it combines the features of the framed and scattered polyvocatives and unites their functions. Discussion. The major function of the framed polyvocative is the phatic one, i. e., establishing contact between communicators through the initial address and contact termination atthe end of the letter. The scattered polyvocative seeks to maintain contact throughout the whole communication process; besides, it can also perform emotional and aesthetic functions. The components of the scattered polyvocative may mark the utterances that embody in the letter various speech genres (apology, gratitude, compliment, request etc.). This way, they can divide and integrate the text. Further research perspectives are related to exploring pragmatic traits of the epistolary polyvocative at large and its separate types in letters that function in various areas of communication

The Honorificative Formula in 18th c. Polish Letters The paper discusses, from the formal, semantic, pragma- and sociolinguistic point of view, the honorificative formula that constituted one of the components of the final part of an epistolary Polish text of the 18th century. Most commonly, it took the shape of a conventionalized phrase which consisted of the preposition z (‘with’), an adjective, and a noun; e.g. z prawdziwym szacunkiem ‘with true respect’. The formula was syntactically dependent, as it was part of a larger whole – nearly always the subscription, i.e. the broadly understood signature of the author of the letter. The lexical composition of the formula showed considerable diversity. The nouns that constituted it include estymacja ‘esteem’, poważenie ‘reverence’, szacunek ‘respect’, weneracja ‘veneration’, and others. The attributes that described the main stem of the formula were also characterized by notable semantic diversity. Moreover, the honorificative formula could also appear in the form of a Latin quotation, e.g. profundo cultu. The usage of the formula depended on social and situational factors, namely it was used in letters to people of equal or higher social status (e.g. to members of princely families), as well as in highly official situations.

A Companhia de Jesus, em seus primórdios, tinha nas cartas o principal meio para a troca de informação entre seus religiosos espalhados pelas mais diversas partes do mundo. Contudo, tais cartas não eram escritas de acordo com o estilo ou a vontade do religioso que a escrevia; pelo contrário, obedeciam a rígidas normativas que regulavam tanto o conteúdo como a forma dessas cartas. Esta pesquisa teve como objetivo identificar e analisar quais foram as primeiras normas para a escrita epistolar da Companhia de Jesus. Para isso utilizou-se de revisão de literatura e da análise documental em três normas epistolares dos primeiros anos da Companhia: as Reglas (1547), alguns artigos das Constituições relativos ao tema (1558) e a Formula scribendi (1565), cuja tradução em língua portuguesa foi feita exclusivamente para esta pesquisa. A análise delas mostrou que a Companhia elaborou normativas rígidas para a produção e circulação das cartas: por determinarem questões como autores, destinatários, assuntos e os prazos das cartas, as normas epistolares foram de essencial importância para a criação e manutenção de uma rede de informações epistolares.Palavras-chave: Companhia de Jesus, Epistolografia, Manuais epistolares.

SummaryIn this article, network visualisation is presented as a new way to explore the formulaic framework of the Demotic papyrus letters. It also serves as an introduction of formal network analysis to the field of Demotic studies. This approach presents the evidence in a new light, focussing on the combination of formulae rather than on the phrases themselves, resulting in fresh observations on epistolary practices.

Although William Lane only began publishing under the Minerva imprint in 1790, by the end of that decade he had—thanks to his ongoing publication of gothic romances written in imitation of Ann Radcliffe, his recruitment of unknown women authors, and his innovative marketing strategies—eclipsed the competition. Before the Minerva era began, however, one of Lane’s major competitors in the field of circulation-library formula fiction, Thomas Hookham, published several novels that were important to Jane Austen’s juvenilia, including the three this essay focuses on: Ann Radcliffe’s Castles of Athlin and Dunbayne (1789) and two by Eliza Nugent Bromley, Laura and Augustus (1784) and The History of Sir Charles Bentinck and Louisa Cavendish (178/1789?). In addition, because advertisements, catalogues, and other reading lists were important to readers and self-fashioning important to the aspiring young author, besides these primary texts I also consider associated paratexts. These include titles and dedications in Austen’s case and, in Hookham’s case, a list of “Books Printed by T. Hookham,” which appears inside Athlin and Dunbayne immediately following the title page, where any reader must notice it. Although we cannot know for sure, it is possible that this particular list directly influenced Austen’s (and the Austen family’s) choice of reading material in 1789 as well as Austen’s subsequent choice of satiric targets for “Love and Freindship.” In any case, the very possibility that she paid such close attention to Hookham’s list of “Books Printed” prompts a careful consideration of what the juvenilia may reveal about her reading process, her youthful understanding of circulation-library publishers’ marketing strategies and materials, and her response to the model of authorship they promoted. Taken together, these texts and paratexts strongly suggest that the teenaged Austen appreciated the practical use of lists like the one found in “Books Printed” and made good use of them as a reader who was committed to mastering generic conventions, but that she also parodied their rhetoric in her own titles and dedications; they suggest, moreover, that she appreciated the pleasurable recognition of the familiar enjoyed by readers of circulation-library publisher’s formulaic fiction but was skeptical about certain aspects of the reading and writing networks that such publishers’ marketing strategies were designed to produce. After all, one of the targets of her satire in “Love and Freindship” is quixotic young ladies who, like this epistolary novel’s narrator Laura, set out on the road of literary imitation and end up both disappointing and disappointed.

This article deals with issues related to the interaction of language and religion, such as the influence of Hesychasm philosophy on the speech of Russian Orthodox monks, which shows itself primarily at the ideological level. Referring to the epistolary texts of Russian Orthodox monks-writers of the XX century, the author shows the features of the fundamental ideas of the religious and philosophical doctrine of Hesychasts represented in the language. It is stated that the main representatives of the Hesychast ideas in the epistolary texts of Russian Orthodox monasticism of the XX century are overwords units and words nominating these ideas, as well as derivatives of nominees. It is noted that representatives of the ideas of salvation, theosis, transfiguration, silence, seclusion, etc. belong to the Orthodox vocabulary corpus of spiritual and moral content. The author refers to the use of words and verwords units from the subject area of Hesychasm and specific etiquette speech formulas of greetings and farewells to the distinctive linguistic features of the epistolary texts of Orthodox monks-writers. The question of the influence of prayer making on monastic speech, which forms its distinctive character, is discussed separately: the monk's speech is unique in its prayerfulness and richness with prayers lexis (which reflects a deep mental immersion in prayer texts of different eras).

A distinguishing feature of Paul’s style is his use of short formulas and compounds, which, through their simplicity and appropriate juxtaposition, convey the entire theological complexity of the truths of faith and are a point of reference for Christians of all times. Among such places in Paul’s epistolary is Ephesians 4:1-6, in which, through the use of succinctly formulated articles of faith given in an appropriate rhetorical setting, the Apostle charts before believers the pattern of their relationship with God and with the community with a particular fondness for using the numeral “unum” as a distinguishing feature of the said relationships. This article is an attempt to describe the distinguishing features of St. Paul’s style in the analyzed passage of the Epistle to the Ephesians.

A distinguishing feature of Paul’s style is his use of short formulas and compounds, which, through their simplicity and appropriate juxtaposition, convey the entire theological complexity of the truths of faith and are a point of reference for Christians of all times. Among such places in Paul’s epistolary is Ephesians 4:1-6, in which, through the use of succinctly formulated articles of faith given in an appropriate rhetorical setting, the Apostle charts before believers the pattern of their relationship with God and with the community with a particular fondness for using the numeral “unum” as a distinguishing feature of the said relationships. This article is an attempt to describe the distinguishing features of St. Paul’s style in the analyzed passage of the Epistle to the Ephesians.

Este trabalho centra-se na importância de Horácio e de sua obra para a Literatura Latina. A partir de um percurso através da literatura epistolar, um itinerário iniciado em Horácio e que vai alcançar diferentes autores em diversas literaturas, verifica-se a experiência deste autor e a especificidade de sua obra, com ênfase na Ars Poetica, carta dirigida aos Pisões que tinha como objetivo formular regras para a poesia dramática. Para tanto, o autor, preconizando a existência de fins éticos para o exercício da literatura, expõe suas idéias sobre poesia, criação literária e, também, sobre a formação do poeta.

The Means of Verbalising the Phenomenon of “Resistance to the Soviet Totalitarian System” (Based on Journalistic and Epistolary Texts by Valeriĭ Marchenko) This article is devoted to the issue of language resistance under the con­ditions of totalitarian ideology. Certain linguistic phenomena alternative to the official discourse, and generally called “anti-totalitarian language” in scholarship, arise as a form of opposition to the newspeak and the political regime of totalitarian states in general. The aim of the article is to highlight the ways, forms and means of linguistic resistance to the Soviet totalitarian ideology and the Soviet newspeak implemented in the journalistic works and letters of the Ukrainian dissident Valeriĭ Marchenko. The analysis of Marchenko’s writings indicates the existence of an alter­native communicative discourse in the Ukrainian dissident environment. Humour, irony and ridicule of ideological realities, parody of official lexicon, clichés and stereotypical formulas of totalitarian language are found to be its most expressive features. The study reveals that the introduction of the lexical markers of Soviet rhetoric in deliberately created ironic, comic, critical and antonymous contexts, along with their deideologisation and semantic-stylistic transformations are the ways of purposeful linguistic resistance. The means of language protest are proved to contribute to the destruction of totalitarian era myths, in particular, about the Soviet society as one of general well-being, equality and freedom, about the state protecting the rights of everyone, and about equality of all national languages. Sposoby werbalizowania zjawiska „oporu wobec sowieckiego systemu totalitarnego” (na podstawie tekstów dziennikarskich i epistolarnych Walerija Marczenki) Pewne alternatywne wobec oficjalnego dyskursu zjawiska językowe, w nauce określane ogólnie jako „język antytotalitarny”, powstają jako forma sprzeciwu wobec nowomowy i reżimu politycznego państw tota­litarnych. Artykuł ma na celu zwrócenie uwagi na sposoby, formy i środki językowe, za pomocą których ukraiński dysydent Walerija Marczenko wyraża sprzeciw wobec totalitarnej ideologii sowieckiej i nowomowy.Przeprowadzona analiza prac Marczenki wskazuje na istnienie alternatywnego dyskursu komunikacyjnego w środowisku ukraińskich dysydentów. Jak wykazano, za najbardziej wyraziste cechy można uznać humor, ironię i kpinę z ideologicznych realiów, parodię oficjalnego słownictwa, frazesów i stereotypowych sformułowań języka totalitarnego. Wprowadzanie leksykalnych znaczników sowieckiej retoryki w celowo tworzonych kontekstach ironicznych, komicznych, krytycznych i antonimicznych, wraz z ich deideologizacją i przekształceniami semantyczno­-stylistycznymi, jest sposobem wyrażania sprzeciwu. Wykazano również, że środki językowe przyczyniają się do niszczenia mitów czasów totalitarnych, w szczególności o społeczeństwie sowieckim jako o społeczeń­stwie powszechnego dobrobytu, równości i wolności, o państwie chroniącym prawa wszystkich oraz o równości wszystkich języków narodowych.

Teesid: Käesolev artikkel käsitleb uusklassikalist luulet ehk luulet, mis tärkab humanistliku hariduse pinnalt ja on loodud nn klassikalistes keeltes ehk vanakreeka ja ladina keeles. Artikli esimene pool toob välja paar üldist probleemi varauusaja poeetika käsitlemises nii Eestis kui mujal. Teises osas esitatakse alternatiivina mõned näited (autoriteks G. Krüger, H. Vogelmann, L. Luden, O. Hermelin ja H. Bartholin) Tartu ja Tallinna uusklassikalisest luulest värsstõlkes koos poeetika analüüsidega, avalikkusele tundmata luuletuste puhul esitatakse ka originaaltekstid. SUMMARYThis article discusses poetry in classical languages (Humanist Greek and Neo-Latin) belonging to the classical literary tradition while focusing on poetry from Tallinn and Tartu from the sixteenth and seventeenth centuries. It does not aim to present an overview of this tradition in Estonia (already an object of numerous studies), but rather to discuss some general problems connected to such studies—both in Europe and Estonia—and to show some alternative (or complementary) analyses of neo-classical poetics, together with verse translations and texts that are not easily available or are unknown to the scholars.The discussion of neo-classical poetry in Estonia finds problems in a detachment from poetics and the consequent discrepancies. Firstly, although scholarly treatises stress the value of casual poetry (forming the most eminent part of Estonian Neo-Latin and Humanist Greek poetry), the same treatises present this poetry from the viewpoint of its social background, focusing more on the authors and events than the poetic form. For example, in the Anthology of Tartu casual poetry and the corpus of Neo-Latin poetry from Tartu, texts are presented according to genre, which is defined only according to the classification of social events (epithalamia, epicedia, congratulations for rectorate, disputations, etc). Secondly, in most cases (the anthology, re-editions), this poetry is presented to readers as prose translations. As in the case of ancient Greek and Roman poetry, the established norm in Estonia is verse translation. Translating poetry into prose, therefore, signals that these works are not to be considered poetry. Thirdly, commentaries on this poetry tend to list lexical parallels with authors from classical antiquity without distinguishing actual quotations from the usage of poetic formulae while simultaneously (mostly) ignoring the impact of pagan and Christian texts from late antiquity and renais­sance and humanist literature.One alternative is to present Neo-Latin and Humanist Greek poetry as verse translations and focus more on discussing poetic devices and the impact of its contemporary poetry. Therefore, the second part of this article presents five poems as translations of verse and a subsequent analysis of their poetics.The first example is from a manuscript in the Tallinn City Archives and represents the earliest collection of neo-classical poetry, containing one Latin and five Greek poems belonging to the epistolary poem genre. Its author, Gregor Krüger Mesylanus (a latinized Greek translation of the name of his birth-town Mittenwalde, near Berlin), worked as a priest in Reval after his studies in Wittenberg during the time of Ph. Melanchthon (which explains Krüger‘s chosen poetic form). The Greek cycle is regarded thematically as variations on the same subject of the author‘s longing for home and his unhappiness with the jealousy and hostility of his fellow citizens in Reval. His choice of meter is influenced by Latin poetry, the initial long elegy balanced by four shorter poems of different meters (iambic and choriambic patterns). The final poem of the Greek cycle (Enviless Moon) is presented together with a metrical translation and analysis to demonstrate how sonorous patterns orchest­rate the thematic development of the poem: the author‘s wish to be like the moon, who receives its light from the brighter sun, but remains still happy and grateful to God for his own gift and ability to bring a smaller light to others.The second example analyzes the structure and poetic motives of a metrical translation of a Greek Pindaric Ode by Heinrich Vogelmann from 1633. The paper’s author also examines the European tradition of The second example analyzes the structure and poetic motives of a metrical translation of a Greek Pindaric Ode by Heinrich Vogelmann from 1633. The paper’s author also examines the European tradition of such odes (including more than sixty examples from 1548 until 2004). The third example discusses two alternative translations and additional translation possibilities of a recently discovered anagrammatic poem by Lorenz Luden. The fourth and fifth examples are congratulatory poems addressed to Andreas Borg for the publication of his disputation on civil liberty (in 1697). A Latin congratulatory poem by Olaus Hermelin is an example of politically engaged poetry, which addresses not the student but the subject of his disputation and contemporary political situation (the revolt of Estonian nobility against the Swedish king, who had recaptured donated lands, and the exile of its leader, Johann Reinhold Patkul). The Greek poem by H. Bartholin refers to the arts of Muses to demonstrate the changes in poetical representations of university studies: by the end of the seventeenth century the motives of the dancing and singing, flowery Muses is replaced with the stress of the toil in the stadium and the labyrinth of Muses.This article discusses poetry in classical languages (Humanist Greek and Neo-Latin) belonging to the classical literary tradition while focusing on poetry from Tallinn and Tartu from the sixteenth and seventeenth centuries. It does not aim to present an overview of this tradition in Estonia (already an object of numerous studies), but rather to discuss some general problems connected to such studies—both in Europe and Estonia—and to show some alternative (or complementary) analyses of neo-classical poetics, together with verse translations and texts that are not easily available or are unknown to the scholars.The discussion of neo-classical poetry in Estonia finds problems in a detachment from poetics and the consequent discrepancies. Firstly, although scholarly treatises stress the value of casual poetry (forming the most eminent part of Estonian Neo-Latin and Humanist Greek poetry), the same treatises present this poetry from the viewpoint of its social background, focusing more on the authors and events than the poetic form. For example, in the Anthology of Tartu casual poetry and the corpus of Neo-Latin poetry from Tartu, texts are presented according to genre, which is defined only according to the classification of social events (epithalamia, epicedia, congratulations for rectorate, disputations, etc). Secondly, in most cases (the anthology, re-editions), this poetry is presented to readers as prose translations. As in the case of ancient Greek and Roman poetry, the established norm in Estonia is verse translation. Translating poetry into prose, therefore, signals that these works are not to be considered poetry. Thirdly, commentaries on this poetry tend to list lexical parallels with authors from classical antiquity without distinguishing actual quotations from the usage of poetic formulae while simultaneously (mostly) ignoring the impact of pagan and Christian texts from late antiquity and renais­sance and humanist literature. One alternative is to present Neo-Latin and Humanist Greek poetry as verse translations and focus more on discussing poetic devices and the impact of its contemporary poetry. Therefore, the second part of this article presents five poems as translations of verse and a subsequent analysis of their poetics. The first example is from a manuscript in the Tallinn City Archives and represents the earliest collection of neo-classical poetry, containing one Latin and five Greek poems belonging to the epistolary poem genre. Its author, Gregor Krüger Mesylanus (a latinized Greek translation of the name of his birth-town Mittenwalde, near Berlin), worked as a priest in Reval after his studies in Wittenberg during the time of Ph. Melanchthon (which explains Krüger‘s chosen poetic form). The Greek cycle is regarded thematically as variations on the same subject of the author‘s longing for home and his unhappiness with the jealousy and hostility of his fellow citizens in Reval. His choice of meter is influenced by Latin poetry, the initial long elegy balanced by four shorter poems of different meters (iambic and choriambic patterns). The final poem of the Greek cycle (Enviless Moon) is presented together with a metrical translation and analysis to demonstrate how sonorous patterns orchest­rate the thematic development of the poem: the author‘s wish to be like the moon, who receives its light from the brighter sun, but remains still happy and grateful to God for his own gift and ability to bring a smaller light to others. The second example analyzes the structure and poetic motives of a metrical translation of a Greek Pindaric Ode by Heinrich Vogelmann from 1633. The paper’s author also examines the European tradition of This article discusses poetry in classical languages (Humanist Greek and Neo-Latin) belonging to the classical literary tradition while focusing on poetry from Tallinn and Tartu from the sixteenth and seventeenth centuries. It does not aim to present an overview of this tradition in Estonia (already an object of numerous studies), but rather to discuss some general problems connected to such studies—both in Europe and Estonia—and to show some alternative (or complementary) analyses of neo-classical poetics, together with verse translations and texts that are not easily available or are unknown to the scholars.The discussion of neo-classical poetry in Estonia finds problems in a detachment from poetics and the consequent discrepancies. Firstly, although scholarly treatises stress the value of casual poetry (forming the most eminent part of Estonian Neo-Latin and Humanist Greek poetry), the same treatises present this poetry from the viewpoint of its social background, focusing more on the authors and events than the poetic form. For example, in the Anthology of Tartu casual poetry and the corpus of Neo-Latin poetry from Tartu, texts are presented according to genre, which is defined only according to the classification of social events (epithalamia, epicedia, congratulations for rectorate, disputations, etc). Secondly, in most cases (the anthology, re-editions), this poetry is presented to readers as prose translations. As in the case of ancient Greek and Roman poetry, the established norm in Estonia is verse translation. Translating poetry into prose, therefore, signals that these works are not to be considered poetry. Thirdly, commentaries on this poetry tend to list lexical parallels with authors from classical antiquity without distinguishing actual quotations from the usage of poetic formulae while simultaneously (mostly) ignoring the impact of pagan and Christian texts from late antiquity and renaissance and humanist literature.One alternative is to present Neo-Latin and Humanist Greek poetry as verse translations and focus more on discussing poetic devices and the impact of its contemporary poetry. Therefore, the second part of this article presents five poems as translations of verse and a subsequent analysis of their poetics.The first example is from a manuscript in the Tallinn City Archives and represents the earliest collection of neo-classical poetry, containing one Latin and five Greek poems belonging to the epistolary poem genre. Its author, Gregor Krüger Mesylanus (a latinized Greek translation of the name of his birth-town Mittenwalde, near Berlin), worked as a priest in Reval after his studies in Wittenberg during the time of Ph. Melanchthon (which explains Krüger‘s chosen poetic form). The Greek cycle is regarded thematically as variations on the same subject of the author‘s longing for home and his unhappiness with the jealousy and hostility of his fellow citizens in Reval. His choice of meter is influenced by Latin poetry, the initial long elegy balanced by four shorter poems of different meters (iambic and choriambic patterns). The final poem of the Greek cycle (Enviless Moon) is presented together with a metrical translation and analysis to demonstrate how sonorous patterns orchestrate the thematic development of the poem: the author‘s wish to be like the moon, who receives its light from the brighter sun, but remains still happy and grateful to God for his own gift and ability to bring a smaller light to others.The second example analyzes the structure and poetic motives of a metrical translation of a Greek Pindaric Ode by Heinrich Vogelmann from 1633. The paper’s author also examines the European tradition of

The release in 2004 of Gurinder Chadha’s Bride and Prejudice marked yet another contribution to celluloid’s Austen mania that began in the 1990s and is still going strong. Released almost simultaneously on three different continents (in the UK, US, and India), and in two different languages (English and Hindi), Bride and Prejudice, however, is definitely not another Anglo-American period costume drama. Described by one reviewer as “East meets West”, Chadha’s film “marries a characteristically English saga [Austen’s Pride and Prejudice] with classic Bollywood format “transforming corsets to saris, … the Bennetts to the Bakshis and … pianos to bhangra beats” (Adarsh). Bride and Prejudice, thus, clearly belongs to the upcoming genre of South Asian cross-over cinema in its diasporic incarnation. Such cross-over cinema self-consciously acts as a bridge between at least two distinct cinematic traditions—Hollywood and Bollywood (Indian Hindi cinema). By taking Austen’s Pride and Prejudice as her source text, Chadha has added another dimension to the intertextuality of such cross-over cinema, creating a complex hybrid that does not fit neatly into binary hyphenated categories such as “Asian-American cinema” that film critics such as Mandal invoke to characterise diaspora productions. An embodiment of contemporary globalised (post?)coloniality in its narrative scope, embracing not just Amritsar and LA, but also Goa and London, Bride and Prejudice refuses to fit into a neat East versus West cross-cultural model. How, then, are we to classify this film? Is this problem of identity indicative of postmodern indeterminacy of meaning or can the film be seen to occupy a “third” space, to act as a postcolonial hybrid that successfully undermines (neo)colonial hegemony (Sangari, 1-2)? To answer this question, I will examine Bride and Prejudice as a mimic text, focusing specifically on its complex relationship with Bollywood conventions. According to Gurinder Chadha, Bride and Prejudice is a “complete Hindi movie” in which she has paid “homage to Hindi cinema” through “deliberate references to the cinema of Manoj Kumar, Raj Kapoor, Yash Chopra and Karan Johar” (Jha). This list of film makers is associated with a specific Bollywood sub-genre: the patriotic family romance. Combining aspects of two popular Bollywood genres, the “social” (Prasad, 83) and the “romance” (Virdi, 178), this sub-genre enacts the story of young lovers caught within complex familial politics against the backdrop of a nationalist celebration of Indian identity. Using a cinematic language that is characterised by the spectacular in both its aural and visual aspects, the patriotic family romance follows a typical “masala” narrative pattern that brings together “a little action and some romance with a touch of comedy, drama, tragedy, music, and dance” (Jaikumar). Bride and Prejudice’s successful mimicry of this language and narrative pattern is evident in film reviews consistently pointing to its being very “Bollywoodish”: “the songs and some sequences look straight out of a Hindi film” says one reviewer (Adarsh), while another wonders “why this talented director has reduced Jane Austen’s creation to a Bollywood masala film” (Bhaskaran). Setting aside, for the moment, these reviewers’ condemnation of such Bollywood associations, it is worthwhile to explore the implications of yoking together a canonical British text with Indian popular culture. According to Chadha, this combination is made possible since “the themes of Jane Austen’s novels are a ‘perfect fit’ for a Bollywood style film” (Wray). Ostensibly, such a comment may be seen to reinforce the authority of the colonial canonical text by affirming its transnational/transhistorical relevance. From this perspective, the Bollywood adaptation not only becomes a “native” tribute to the colonial “master” text, but also, implicitly, marks the necessary belatedness of Bollywood as a “native” cultural formation that can only mimic the “English book”. Again, Chadha herself seems to subscribe to this view: “I chose Pride and Prejudice because I feel 200 years ago, England was no different than Amritsar today” (Jha). The ease with which the basic plot premise of Pride and Prejudice—a mother with grown-up daughters obsessed with their marriage—transfers to a contemporary Indian setting does seem to substantiate this idea of belatedness. The spatio-temporal contours of the narrative require changes to accommodate the transference from eighteenth-century English countryside to twenty-first-century India, but in terms of themes, character types, and even plot elements, Bride and Prejudice is able to “mimic” its master text faithfully. While the Bennets, Bingleys and Darcy negotiate the relationship between marriage, money and social status in an England transformed by the rise of industrial capitalism, the Bakshis, Balraj and, yes, Will Darcy, undertake the same tasks in an India transformed by corporate globalisation. Differences in class are here overlaid with those in culture as a middle-class Indian family interacts with wealthy non-resident British Indians and American owners of multinational enterprises, mingling the problems created by pride in social status with prejudices rooted in cultural insularity. However, the underlying conflicts between social and individual identity, between relationships based on material expediency and romantic love, remain the same, clearly indicating India’s belated transition from tradition to modernity. It is not surprising, then, that Chadha can claim that “the transposition [of Austen to India] did not offend the purists in England at all” (Jha). But if the purity of the “master” text is not contaminated by such native mimicry, then how does one explain the Indian anglophile rejection of Bride and Prejudice? The problem, according to the Indian reviewers, lies not in the idea of an Indian adaptation, but in the choice of genre, in the devaluation of the “master” text’s cultural currency by associating it with the populist “masala” formula of Bollywood. The patriotic family romance, characterised by spectacular melodrama with little heed paid to psychological complexity, is certainly a far cry from the restrained Austenian narrative that achieves its dramatic effect exclusively through verbal sparring and epistolary revelations. When Elizabeth and Darcy’s quiet walk through Pemberley becomes Lalita and Darcy singing and dancing through public fountains, and the private economic transaction that rescues Lydia from infamy is translated into fisticuff between Darcy and Wickham in front of an applauding cinema audience, mimicry does smack too much of mockery to be taken as a tribute. It is no wonder then that “the news that [Chadha] was making Bride and Prejudice was welcomed with broad grins by everyone [in Britain] because it’s such a cheeky thing to do” (Jha). This cheekiness is evident throughout the film, which provides a splendid over-the-top cinematic translation of Pride and Prejudice that deliberately undermines the seriousness accorded to the Austen text, not just by the literary establishment, but also by cinematic counterparts that attempt to preserve its cultural value through carefully constructed period pieces. Chadha’s Bride and Prejudice, on the other hand, marries British high culture to Indian popular culture, creating a mimic text that is, in Homi Bhabha’s terms, “almost the same, but not quite” (86), thus undermining the authority, the primacy, of the so-called “master” text. This postcolonial subversion is enacted in Chadha’s film at the level of both style and content. If the adaptation of fiction into film is seen as an activity of translation, of a semiotic shift from one language to another (Boyum, 21), then Bride and Prejudice can be seen to enact this translation at two levels: the obvious translation of the language of novel into the language of film, and the more complex translation of Western high culture idiom into the idiom of Indian popular culture. The very choice of target language in the latter case clearly indicates that “authenticity” is not the intended goal here. Instead of attempting to render the target language transparent, making it a non-intrusive medium that derives all its meaning from the source text, Bride and Prejudice foregrounds the conventions of Bollywood masala films, forcing its audience to grapple with this “new” language on its own terms. The film thus becomes a classic instance of the colony “talking back” to the metropolis, of Caliban speaking to Prospero, not in the language Prospero has taught him, but in his own native tongue. The burden of responsibility is shifted; it is Prospero/audiences in the West that have the responsibility to understand the language of Bollywood without dismissing it as gibberish or attempting to domesticate it, to reduce it to the familiar. The presence in Bride and Prejudice of song and dance sequences, for example, does not make it a Hollywood musical, just as the focus on couples in love does not make it a Hollywood-style romantic comedy. Neither The Sound of Music (Robert Wise, 1965) nor You’ve Got Mail (Nora Ephron, 1998) corresponds to the Bollywood patriotic family romance that combines various elements from distinct Hollywood genres into one coherent narrative pattern. Instead, it is Bollywood hits like Dilwale Dulhaniya Le Jayenge (Aditya Chopra, 1995) and Pardes (Subhash Ghai, 1997) that constitute the cinema tradition to which Bride and Prejudice belongs, and against which backdrop it needs to be seen. This is made clear in the film itself where the climactic fight between Darcy and Wickham is shot against a screening of Manoj Kumar’s Purab Aur Paschim (East and West) (1970), establishing Darcy, unequivocally, as the Bollywood hero, the rescuer of the damsel in distress, who deserves, and gets, the audience’s full support, denoted by enthusiastic applause. Through such intertextuality, Bride and Prejudice enacts a postcolonial reversal whereby the usual hierarchy governing the relationship between the colony and the metropolis is inverted. By privileging through style and explicit reference the Indian Bollywood framework in Bride and Prejudice, Chadha implicitly minimises the importance of Austen’s text, reducing it to just one among several intertextual invocations without any claim to primacy. It is, in fact, perfectly possible to view Bride and Prejudice without any knowledge of Austen; its characters and narrative pattern are fully comprehensible within a well-established Bollywood tradition that is certainly more familiar to a larger number of Indians than is Austen. An Indian audience, thus, enjoys a home court advantage with this film, not the least of which is the presence of Aishwarya Rai, the Bollywood superstar who is undoubtedly the central focus of Chadha’s film. But star power apart, the film consolidates the Indian advantage through careful re-visioning of specific plot elements of Austen’s text in ways that clearly reverse the colonial power dynamics between Britain and India. The re-casting of Bingley as the British Indian Balraj re-presents Britain in terms of its immigrant identity. White British identity, on the other hand, is reduced to a single character—Johnny Wickham—which associates it with a callous duplicity and devious exploitation that provide the only instance in this film of Bollywood-style villainy. This re-visioning of British identity is evident even at the level of the film’s visuals where England is identified first by a panning shot that covers everything from Big Ben to a mosque, and later by a snapshot of Buckingham Palace through a window: a combination of its present multicultural reality juxtaposed against its continued self-representation in terms of an imperial tradition embodied by the monarchy. This reductionist re-visioning of white Britain’s imperial identity is foregrounded in the film by the re-casting of Darcy as an American entrepreneur, which effectively shifts the narratorial focus from Britain to the US. Clearly, with respect to India, it is now the US which is the imperial power, with London being nothing more than a stop-over on the way from Amritsar to LA. This shift, however, does not in itself challenge the more fundamental West-East power hierarchy; it merely indicates a shift of the imperial centre without any perceptible change in the contours of colonial discourse. The continuing operation of the latter is evident in the American Darcy’s stereotypical and dismissive attitude towards Indian culture as he makes snide comments about arranged marriages and describes Bhangra as an “easy dance” that looks like “screwing in a light bulb with one hand and patting a dog with the other.” Within the film, this cultural snobbery of the West is effectively challenged by Lalita, the Indian Elizabeth, whose “liveliness of mind” is exhibited here chiefly through her cutting comebacks to such disparaging remarks, making her the film’s chief spokesperson for India. When Darcy’s mother, for example, dismisses the need to go to India since yoga and Deepak Chopra are now available in the US, Lalita asks her if going to Italy has become redundant because Pizza Hut has opened around the corner? Similarly, she undermines Darcy’s stereotyping of India as the backward Other where arranged marriages are still the norm, by pointing out the eerie similarity between so-called arranged marriages in India and the attempts of Darcy’s own mother to find a wife for him. Lalita’s strategy, thus, is not to invert the hierarchy by proving the superiority of the East over the West; instead, she blurs the distinction between the two, while simultaneously introducing the West (as represented by Darcy and his mother) to the “real India”. The latter is achieved not only through direct conversational confrontations with Darcy, but also indirectly through her own behaviour and deportment. Through her easy camaraderie with local Goan kids, whom she joins in an impromptu game of cricket, and her free-spirited guitar-playing with a group of backpacking tourists, Lalita clearly shows Darcy (and the audience in the West) that so-called “Hicksville, India” is no different from the so-called cosmopolitan sophistication of LA. Lalita is definitely not the stereotypical shy retiring Indian woman; this jean-clad, tractor-riding gal is as comfortable dancing the garbha at an Indian wedding as she is sipping marguerites in an LA restaurant. Interestingly, this East-West union in Aishwarya Rai’s portrayal of Lalita as a modern Indian woman de-stabilises the stereotypes generated not only by colonial discourse but also by Bollywood’s brand of conservative nationalism. As Chadha astutely points out, “Bride and Prejudice is not a Hindi film in the true sense. That rikshawallah in the front row in Patna is going to say, ‘Yeh kya hua? Aishwarya ko kya kiya?’ [What did you do to Aishwarya?]” (Jha). This disgruntlement of the average Indian Hindi-film audience, which resulted in the film being a commercial flop in India, is a result of Chadha’s departures from the conventions of her chosen Bollywood genre at both the cinematic and the thematic levels. The perceived problem with Aishwarya Rai, as articulated by the plaintive question of the imagined Indian viewer, is precisely her presentation as a modern (read Westernised) Indian heroine, which is pretty much an oxymoron within Bollywood conventions. In all her mainstream Hindi films, Aishwarya Rai has conformed to these conventions, playing the demure, sari-clad, conventional Indian heroine who is untouched by any “anti-national” western influence in dress, behaviour or ideas (Gangoli,158). Her transformation in Chadha’s film challenges this conventional notion of a “pure” Indian identity that informs the Bollywood “masala” film. Such re-visioning of Bollywood’s thematic conventions is paralleled, in Bride and Prejudice, with a playfully subversive mimicry of its cinematic conventions. This is most obvious in the song-and-dance sequences in the film. While their inclusion places the film within the Bollywood tradition, their actual picturisation creates an audio-visual pastiche that freely mingles Bollywood conventions with those of Hollywood musicals as well as contemporary music videos from both sides of the globe. A song, for example, that begins conventionally enough (in Bollywood terms) with three friends singing about one of them getting married and moving away, soon transforms into a parody of Hollywood musicals as random individuals from the marketplace join in, not just as chorus, but as developers of the main theme, almost reducing the three friends to a chorus. And while the camera alternates between mid and long shots in conventional Bollywood fashion, the frame violates the conventions of stylised choreography by including a chaotic spill-over that self-consciously creates a postmodern montage very different from the controlled spectacle created by conventional Bollywood song sequences. Bride and Prejudice, thus, has an “almost the same, but not quite” relationship not just with Austen’s text but also with Bollywood. Such dual-edged mimicry, which foregrounds Chadha’s “outsider” status with respect to both traditions, eschews all notions of “authenticity” and thus seems to become a perfect embodiment of postcolonial hybridity. Does this mean that postmodern pastiche can fulfill the political agenda of postcolonial resistance to the forces of globalised (neo)imperialism? As discussed above, Bride and Prejudice does provide a postcolonial critique of (neo)colonial discourse through the character of Lalita, while at the same time escaping the trap of Bollywood’s explicitly articulated brand of nationalism by foregrounding Lalita’s (Westernised) modernity. And yet, ironically, the film unselfconsciously remains faithful to contemporary Bollywood’s implicit ideological framework. As most analyses of Bollywood blockbusters in the post-liberalisation (post-1990) era have pointed out, the contemporary patriotic family romance is distinct from its earlier counterparts in its unquestioning embrace of neo-conservative consumerist ideology (Deshpande, 187; Virdi, 203). This enthusiastic celebration of globalisation in its most recent neo-imperial avatar is, interestingly, not seen to conflict with Bollywood’s explicit nationalist agenda; the two are reconciled through a discourse of cultural nationalism that happily co-exists with a globalisation-sponsored rampant consumerism, while studiously ignoring the latter’s neo-colonial implications. Bride and Prejudice, while self-consciously redefining certain elements of this cultural nationalism and, in the process, providing a token recognition of neo-imperial configurations, does not fundamentally question this implicit neo-conservative consumerism of the Bollywood patriotic family romance. This is most obvious in the film’s gender politics where it blindly mimics Bollywood conventions in embodying the nation as a woman (Lalita) who, however independent she may appear, not only requires male protection (Darcy is needed to physically rescue Lakhi from Wickham) but also remains an object of exchange between competing systems of capitalist patriarchy (Uberoi, 207). At the film’s climax, Lalita walks away from her family towards Darcy. But before Darcy embraces the very willing Lalita, his eyes seek out and receive permission from Mr Bakshi. Patriarchal authority is thus granted due recognition, and Lalita’s seemingly bold “independent” decision remains caught within the politics of patriarchal exchange. This particular configuration of gender politics is very much a part of Bollywood’s neo-conservative consumerist ideology wherein the Indian woman/nation is given enough agency to make choices, to act as a “voluntary” consumer, within a globalised marketplace that is, however, controlled by the interests of capitalist patriarchy. The narrative of Bride and Prejudice perfectly aligns this framework with Lalita’s project of cultural nationalism, which functions purely at the personal/familial level, but which is framed at both ends of the film by a visual conjoining of marriage and the marketplace, both of which are ultimately outside Lalita’s control. Chadha’s attempt to appropriate and transform British “Pride” through subversive postcolonial mimicry, thus, ultimately results only in replacing it with an Indian “Bride,” with a “star” product (Aishwarya Rai / Bride and Prejudice / India as Bollywood) in a splendid package, ready for exchange and consumption within the global marketplace. All glittering surface and little substance, Bride and Prejudice proves, once again, that postmodern pastiche cannot automatically double as politically enabling postcolonial hybridity (Sangari, 23-4). References Adarsh, Taran. “Balle Balle! From Amritsar to L.A.” IndiaFM Movie Review 8 Oct. 2004. 19 Feb. 2007 http://indiafm.com/movies/review/7211/index.html>. Austen, Jane. Pride and Prejudice. 1813. New Delhi: Rupa and Co., 1999. Bhabha, Homi. “Of Mimicry and Man: The Ambivalence of Colonial Discourse.” The Location of Culture. Routledge: New York, 1994. 85-92. Bhaskaran, Gautam. “Classic Made Trivial.” The Hindu 15 Oct. 2004. 19 Feb. 2007 http://www.hinduonnet.com/thehindu/fr/2004/10/15/stories/ 2004101502220100.htm>. Boyum, Joy Gould. Double Exposure: Fiction into Film. Calcutta: Seagull Books, 1989. Bride and Prejudice. Dir. Gurinder Chadha. Perf. Aishwarya Ray and Martin Henderson. Miramax, 2004. Deshpande, Sudhanva. “The Consumable Hero of Globalized India.” Bollyworld: Popular Indian Cinema through a Transnational Lens. Eds. Raminder Kaur and Ajay J. Sinha. New Delhi: Sage, 2005. 186-203. Gangoli, Geetanjali. “Sexuality, Sensuality and Belonging: Representations of the ‘Anglo-Indian’ and the ‘Western’ Woman in Hindi Cinema.” Bollyworld: Popular Indian Cinema through a Transnational Lens. Eds. Raminder Kaur and Ajay J. Sinha. New Delhi: Sage, 2005. 143-162. Jaikumar, Priya. “Bollywood Spectaculars.” World Literature Today 77.3/4 (2003): n. pag. Jha, Subhash K. “Bride and Prejudice is not a K3G.” The Rediff Interview 30 Aug. 2004. 19 Feb. 2007 http://in.rediff.com/movies/2004/aug/30finter.htm>. Mandal, Somdatta. Film and Fiction: Word into Image. New Delhi: Rawat Publications, 2005. Prasad, M. Madhava. Ideology of the Hindi Film: A Historical Construction. New Delhi: Oxford UP, 1998. Sangari, Kumkum. Politics of the Possible: Essays on Gender, History, Narratives, Colonial English. New Delhi: Tulika, 1999. Uberoi, Patricia. Freedom and Destiny: Gender, Family, and Popular Culture in India. New Delhi: Oxford UP, 2006. Virdi, Jyotika. The Cinematic Imagination: Indian Popular Films as Social History. Delhi: Permanent Black, 2003. Wray, James. “Gurinder Chadha Talks Bride and Prejudice.” Movie News 7 Feb. 2005. 19 Feb. http://movies.monstersandcritics.com/news/article_4163.php/ Gurinder_Chadha_Talks_Bride_and_Prejudice>. Citation reference for this article MLA Style Mathur, Suchitra. "From British “Pride” to Indian “Bride”: Mapping the Contours of a Globalised (Post?)Colonialism." M/C Journal 10.2 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0705/06-mathur.php>. APA Style Mathur, S. (May 2007) "From British “Pride” to Indian “Bride”: Mapping the Contours of a Globalised (Post?)Colonialism," M/C Journal, 10(2). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0705/06-mathur.php>.

Introduction Food has always been an essential component of daily life. Today, thinking about food is a much more complicated pursuit than planning the next meal, with food studies scholars devoting their efforts to researching “anything pertaining to food and eating, from how food is grown to when and how it is eaten, to who eats it and with whom, and the nutritional quality” (Duran and MacDonald 234). This is in addition to the work undertaken by an increasingly wide variety of popular culture researchers who explore all aspects of food (Risson and Brien 3): including food advertising, food packaging, food on television, and food in popular fiction. In creating stories, from those works that quickly disappear from bookstore shelves to those that become entrenched in the literary canon, writers use food to communicate the everyday and to explore a vast range of ideas from cultural background to social standing, and also use food to provide perspectives “into the cultural and historical uniqueness of a given social group” (Piatti-Farnell 80). For example in Oliver Twist (1838) by Charles Dickens, the central character challenges the class system when: “Child as he was, he was desperate with hunger and reckless with misery. He rose from the table, and advancing basin and spoon in hand, to the master, said, somewhat alarmed at his own temerity–‘Please, sir, I want some more’” (11). Scarlett O’Hara in Margaret Mitchell’s Gone with the Wind (1936) makes a similar point, a little more dramatically, when she declares: “As God is my witness, I’m never going to be hungry again” (419). Food can also take us into the depths of another culture: places that many of us will only ever read about. Food is also used to provide insight into a character’s state of mind. In Nora Ephron’s Heartburn (1983) an item as simple as boiled bread tells a reader so much more about Rachel Samstat than her preferred bakery items: “So we got married and I got pregnant and I gave up my New York apartment and moved to Washington. Talk about mistakes [...] there I was, trying to hold up my end in a city where you can’t even buy a decent bagel” (34). There are three ways in which writers can deal with food within their work. Firstly, food can be totally ignored. This approach is sometimes taken despite food being such a standard feature of storytelling that its absence, be it a lonely meal at home, elegant canapés at an impressively catered cocktail party, or a cheap sandwich collected from a local café, is an obvious omission. Food can also add realism to a story, with many authors putting as much effort into conjuring the smell, taste, and texture of food as they do into providing a backstory and a purpose for their characters. In recent years, a third way has emerged with some writers placing such importance upon food in fiction that the line that divides the cookbook and the novel has become distorted. This article looks at cookbooks and cookery in popular fiction with a particular focus on crime novels. Recipes: Ingredients and Preparation Food in fiction has been employed, with great success, to help characters cope with grief; giving them the reassurance that only comes through the familiarity of the kitchen and the concentration required to fulfil routine tasks: to chop and dice, to mix, to sift and roll, to bake, broil, grill, steam, and fry. Such grief can come from the breakdown of a relationship as seen in Nora Ephron’s Heartburn (1983). An autobiography under the guise of fiction, this novel is the first-person story of a cookbook author, a description that irritates the narrator as she feels her works “aren’t merely cookbooks” (95). She is, however, grateful she was not described as “a distraught, rejected, pregnant cookbook author whose husband was in love with a giantess” (95). As the collapse of the marriage is described, her favourite recipes are shared: Bacon Hash; Four Minute Eggs; Toasted Almonds; Lima Beans with Pears; Linguine Alla Cecca; Pot Roast; three types of Potatoes; Sorrel Soup; desserts including Bread Pudding, Cheesecake, Key Lime Pie and Peach Pie; and a Vinaigrette, all in an effort to reassert her personal skills and thus personal value. Grief can also result from loss of hope and the realisation that a life long dreamed of will never be realised. Like Water for Chocolate (1989), by Laura Esquivel, is the magical realist tale of Tita De La Garza who, as the youngest daughter, is forbidden to marry as she must take care of her mother, a woman who: “Unquestionably, when it came to dividing, dismantling, dismembering, desolating, detaching, dispossessing, destroying or dominating […] was a pro” (87). Tita’s life lurches from one painful, unjust episode to the next; the only emotional stability she has comes from the kitchen, and from her cooking of a series of dishes: Christmas Rolls; Chabela Wedding Cake; Quail in Rose Petal Sauce; Turkey Mole; Northern-style Chorizo; Oxtail Soup; Champandongo; Chocolate and Three Kings’s Day Bread; Cream Fritters; and Beans with Chilli Tezcucana-style. This is a series of culinary-based activities that attempts to superimpose normalcy on a life that is far from the everyday. Grief is most commonly associated with death. Undertaking the selection, preparation and presentation of meals in novels dealing with bereavement is both a functional and symbolic act: life must go on for those left behind but it must go on in a very different way. Thus, novels that use food to deal with loss are particularly important because they can “make non-cooks believe they can cook, and for frequent cooks, affirm what they already know: that cooking heals” (Baltazar online). In Angelina’s Bachelors (2011) by Brian O’Reilly, Angelina D’Angelo believes “cooking was not just about food. It was about character” (2). By the end of the first chapter the young woman’s husband is dead and she is in the kitchen looking for solace, and survival, in cookery. In The Kitchen Daughter (2011) by Jael McHenry, Ginny Selvaggio is struggling to cope with the death of her parents and the friends and relations who crowd her home after the funeral. Like Angelina, Ginny retreats to the kitchen. There are, of course, exceptions. In Ntozake Shange’s Sassafrass, Cypress & Indigo (1982), cooking celebrates, comforts, and seduces (Calta). This story of three sisters from South Carolina is told through diary entries, narrative, letters, poetry, songs, and spells. Recipes are also found throughout the text: Turkey; Marmalade; Rice; Spinach; Crabmeat; Fish; Sweetbread; Duck; Lamb; and, Asparagus. Anthony Capella’s The Food of Love (2004), a modern retelling of the classic tale of Cyrano de Bergerac, is about the beautiful Laura, a waiter masquerading as a top chef Tommaso, and the talented Bruno who, “thick-set, heavy, and slightly awkward” (21), covers for Tommaso’s incompetency in the kitchen as he, too, falls for Laura. The novel contains recipes and contains considerable information about food: Take fusilli […] People say this pasta was designed by Leonardo da Vinci himself. The spiral fins carry the biggest amount of sauce relative to the surface area, you see? But it only works with a thick, heavy sauce that can cling to the grooves. Conchiglie, on the other hand, is like a shell, so it holds a thin, liquid sauce inside it perfectly (17). Recipes: Dishing Up Death Crime fiction is a genre with a long history of focusing on food; from the theft of food in the novels of the nineteenth century to the utilisation of many different types of food such as chocolate, marmalade, and sweet omelettes to administer poison (Berkeley, Christie, Sayers), the latter vehicle for arsenic receiving much attention in Harriet Vane’s trial in Dorothy L. Sayers’s Strong Poison (1930). The Judge, in summing up the case, states to the members of the jury: “Four eggs were brought to the table in their shells, and Mr Urquhart broke them one by one into a bowl, adding sugar from a sifter [...he then] cooked the omelette in a chafing dish, filled it with hot jam” (14). Prior to what Timothy Taylor has described as the “pre-foodie era” the crime fiction genre was “littered with corpses whose last breaths smelled oddly sweet, or bitter, or of almonds” (online). Of course not all murders are committed in such a subtle fashion. In Roald Dahl’s Lamb to the Slaughter (1953), Mary Maloney murders her policeman husband, clubbing him over the head with a frozen leg of lamb. The meat is roasting nicely when her husband’s colleagues arrive to investigate his death, the lamb is offered and consumed: the murder weapon now beyond the recovery of investigators. Recent years have also seen more and more crime fiction writers present a central protagonist working within the food industry, drawing connections between the skills required for food preparation and those needed to catch a murderer. Working with cooks or crooks, or both, requires planning and people skills in addition to creative thinking, dedication, reliability, stamina, and a willingness to take risks. Kent Carroll insists that “food and mysteries just go together” (Carroll in Calta), with crime fiction website Stop, You’re Killing Me! listing, at the time of writing, over 85 culinary-based crime fiction series, there is certainly sufficient evidence to support his claim. Of the numerous works available that focus on food there are many series that go beyond featuring food and beverages, to present recipes as well as the solving of crimes. These include: the Candy Holliday Murder Mysteries by B. B. Haywood; the Coffeehouse Mysteries by Cleo Coyle; the Hannah Swensen Mysteries by Joanne Fluke; the Hemlock Falls Mysteries by Claudia Bishop; the Memphis BBQ Mysteries by Riley Adams; the Piece of Cake Mysteries by Jacklyn Brady; the Tea Shop Mysteries by Laura Childs; and, the White House Chef Mysteries by Julie Hyzy. The vast majority of offerings within this female dominated sub-genre that has been labelled “Crime and Dine” (Collins online) are American, both in origin and setting. A significant contribution to this increasingly popular formula is, however, from an Australian author Kerry Greenwood. Food features within her famed Phryne Fisher Series with recipes included in A Question of Death (2007). Recipes also form part of Greenwood’s food-themed collection of short crime stories Recipes for Crime (1995), written with Jenny Pausacker. These nine stories, each one imitating the style of one of crime fiction’s greatest contributors (from Agatha Christie to Raymond Chandler), allow readers to simultaneously access mysteries and recipes. 2004 saw the first publication of Earthly Delights and the introduction of her character, Corinna Chapman. This series follows the adventures of a woman who gave up a career as an accountant to open her own bakery in Melbourne. Corinna also investigates the occasional murder. Recipes can be found at the end of each of these books with the Corinna Chapman Recipe Book (nd), filled with instructions for baking bread, muffins and tea cakes in addition to recipes for main courses such as risotto, goulash, and “Chicken with Pineapple 1971 Style”, available from the publisher’s website. Recipes: Integration and Segregation In Heartburn (1983), Rachel acknowledges that presenting a work of fiction and a collection of recipes within a single volume can present challenges, observing: “I see that I haven’t managed to work in any recipes for a while. It’s hard to work in recipes when you’re moving the plot forward” (99). How Rachel tells her story is, however, a reflection of how she undertakes her work, with her own cookbooks being, she admits, more narration than instruction: “The cookbooks I write do well. They’re very personal and chatty–they’re cookbooks in an almost incidental way. I write chapters about friends or relatives or trips or experiences, and work in the recipes peripherally” (17). Some authors integrate detailed recipes into their narratives through description and dialogue. An excellent example of this approach can be found in the Coffeehouse Mystery Series by Cleo Coyle, in the novel On What Grounds (2003). When the central protagonist is being questioned by police, Clare Cosi’s answers are interrupted by a flashback scene and instructions on how to make Greek coffee: Three ounces of water and one very heaped teaspoon of dark roast coffee per serving. (I used half Italian roast, and half Maracaibo––a lovely Venezuelan coffee, named after the country’s major port; rich in flavour, with delicate wine overtones.) / Water and finely ground beans both go into the ibrik together. The water is then brought to a boil over medium heat (37). This provides insight into Clare’s character; that, when under pressure, she focuses her mind on what she firmly believes to be true – not the information that she is doubtful of or a situation that she is struggling to understand. Yet breaking up the action within a novel in this way–particularly within crime fiction, a genre that is predominantly dependant upon generating tension and building the pacing of the plotting to the climax–is an unusual but ultimately successful style of writing. Inquiry and instruction are comfortable bedfellows; as the central protagonists within these works discover whodunit, the readers discover who committed murder as well as a little bit more about one of the world’s most popular beverages, thus highlighting how cookbooks and novels both serve to entertain and to educate. Many authors will save their recipes, serving them up at the end of a story. This can be seen in Julie Hyzy’s White House Chef Mystery novels, the cover of each volume in the series boasts that it “includes Recipes for a Complete Presidential Menu!” These menus, with detailed ingredients lists, instructions for cooking and options for serving, are segregated from the stories and appear at the end of each work. Yet other writers will deploy a hybrid approach such as the one seen in Like Water for Chocolate (1989), where the ingredients are listed at the commencement of each chapter and the preparation for the recipes form part of the narrative. This method of integration is also deployed in The Kitchen Daughter (2011), which sees most of the chapters introduced with a recipe card, those chapters then going on to deal with action in the kitchen. Using recipes as chapter breaks is a structure that has, very recently, been adopted by Australian celebrity chef, food writer, and, now fiction author, Ed Halmagyi, in his new work, which is both cookbook and novel, The Food Clock: A Year of Cooking Seasonally (2012). As people exchange recipes in reality, so too do fictional characters. The Recipe Club (2009), by Andrea Israel and Nancy Garfinkel, is the story of two friends, Lilly Stone and Valerie Rudman, which is structured as an epistolary novel. As they exchange feelings, ideas and news in their correspondence, they also exchange recipes: over eighty of them throughout the novel in e-mails and letters. In The Food of Love (2004), written messages between two of the main characters are also used to share recipes. In addition, readers are able to post their own recipes, inspired by this book and other works by Anthony Capella, on the author’s website. From Page to Plate Some readers are contributing to the burgeoning food tourism market by seeking out the meals from the pages of their favourite novels in bars, cafés, and restaurants around the world, expanding the idea of “map as menu” (Spang 79). In Shannon McKenna Schmidt’s and Joni Rendon’s guide to literary tourism, Novel Destinations (2009), there is an entire section, “Eat Your Words: Literary Places to Sip and Sup”, dedicated to beverages and food. The listings include details for John’s Grill, in San Francisco, which still has on the menu Sam Spade’s Lamb Chops, served with baked potato and sliced tomatoes: a meal enjoyed by author Dashiell Hammett and subsequently consumed by his well-known protagonist in The Maltese Falcon (193), and the Café de la Paix, in Paris, frequented by Ian Fleming’s James Bond because “the food was good enough and it amused him to watch the people” (197). Those wanting to follow in the footsteps of writers can go to Harry’s Bar, in Venice, where the likes of Marcel Proust, Sinclair Lewis, Somerset Maugham, Ernest Hemingway, and Truman Capote have all enjoyed a drink (195) or The Eagle and Child, in Oxford, which hosted the regular meetings of the Inklings––a group which included C.S. Lewis and J.R.R. Tolkien––in the wood-panelled Rabbit Room (203). A number of eateries have developed their own literary themes such as the Peacocks Tearooms, in Cambridgeshire, which blends their own teas. Readers who are also tea drinkers can indulge in the Sherlock Holmes (Earl Grey with Lapsang Souchong) and the Doctor Watson (Keemun and Darjeeling with Lapsang Souchong). Alternatively, readers may prefer to side with the criminal mind and indulge in the Moriarty (Black Chai with Star Anise, Pepper, Cinnamon, and Fennel) (Peacocks). The Moat Bar and Café, in Melbourne, situated in the basement of the State Library of Victoria, caters “to the whimsy and fantasy of the fiction housed above” and even runs a book exchange program (The Moat). For those readers who are unable, or unwilling, to travel the globe in search of such savoury and sweet treats there is a wide variety of locally-based literary lunches and other meals, that bring together popular authors and wonderful food, routinely organised by book sellers, literature societies, and publishing houses. There are also many cookbooks now easily obtainable that make it possible to re-create fictional food at home. One of the many examples available is The Book Lover’s Cookbook (2003) by Shaunda Kennedy Wenger and Janet Kay Jensen, a work containing over three hundred pages of: Breakfasts; Main & Side Dishes; Soups; Salads; Appetizers, Breads & Other Finger Foods; Desserts; and Cookies & Other Sweets based on the pages of children’s books, literary classics, popular fiction, plays, poetry, and proverbs. If crime fiction is your preferred genre then you can turn to Jean Evans’s The Crime Lover’s Cookbook (2007), which features short stories in between the pages of recipes. There is also Estérelle Payany’s Recipe for Murder (2010) a beautifully illustrated volume that presents detailed instructions for Pigs in a Blanket based on the Big Bad Wolf’s appearance in The Three Little Pigs (44–7), and Roast Beef with Truffled Mashed Potatoes, which acknowledges Patrick Bateman’s fondness for fine dining in Bret Easton Ellis’s American Psycho (124–7). Conclusion Cookbooks and many popular fiction novels are reflections of each other in terms of creativity, function, and structure. In some instances the two forms are so closely entwined that a single volume will concurrently share a narrative while providing information about, and instruction, on cookery. Indeed, cooking in books is becoming so popular that the line that traditionally separated cookbooks from other types of books, such as romance or crime novels, is becoming increasingly distorted. The separation between food and fiction is further blurred by food tourism and how people strive to experience some of the foods found within fictional works at bars, cafés, and restaurants around the world or, create such experiences in their own homes using fiction-themed recipe books. Food has always been acknowledged as essential for life; books have long been acknowledged as food for thought and food for the soul. Thus food in both the real world and in the imagined world serves to nourish and sustain us in these ways. References Adams, Riley. Delicious and Suspicious. New York: Berkley, 2010. –– Finger Lickin’ Dead. New York: Berkley, 2011. –– Hickory Smoked Homicide. New York: Berkley, 2011. Baltazar, Lori. “A Novel About Food, Recipes Included [Book review].” Dessert Comes First. 28 Feb. 2012. 20 Aug. 2012 ‹http://dessertcomesfirst.com/archives/8644›. Berkeley, Anthony. The Poisoned Chocolates Case. London: Collins, 1929. Bishop, Claudia. Toast Mortem. New York: Berkley, 2010. –– Dread on Arrival. New York: Berkley, 2012. Brady, Jacklyn. A Sheetcake Named Desire. New York: Berkley, 2011. –– Cake on a Hot Tin Roof. New York: Berkley, 2012. Calta, Marialisa. “The Art of the Novel as Cookbook.” The New York Times. 17 Feb. 1993. 23 Jul. 2012 ‹http://www.nytimes.com/1993/02/17/style/the-art-of-the-novel-as-cookbook.html?pagewanted=all&src=pm›. Capella, Anthony. The Food of Love. London: Time Warner, 2004/2005. Carroll, Kent in Calta, Marialisa. “The Art of the Novel as Cookbook.” The New York Times. 17 Feb. 1993. 23 Jul. 2012 ‹http://www.nytimes.com/1993/02/17/style/the-art-of-the-novel-as-cookbook.html?pagewanted=all&src=pm›. Childs, Laura. Death by Darjeeling. New York: Berkley, 2001. –– Shades of Earl Grey. New York: Berkley, 2003. –– Blood Orange Brewing. New York: Berkley, 2006/2007. –– The Teaberry Strangler. New York: Berkley, 2010/2011. Collins, Glenn. “Your Favourite Fictional Crime Moments Involving Food.” The New York Times Diner’s Journal: Notes on Eating, Drinking and Cooking. 16 Jul. 2012. 17 Jul. 2012 ‹http://dinersjournal.blogs.nytimes.com/2012/07/16/your-favorite-fictional-crime-moments-involving-food›. Coyle, Cleo. On What Grounds. New York: Berkley, 2003. –– Murder Most Frothy. New York: Berkley, 2006. –– Holiday Grind. New York: Berkley, 2009/2010. –– Roast Mortem. New York: Berkley, 2010/2011. Christie, Agatha. A Pocket Full of Rye. London: Collins, 1953. Dahl, Roald. Lamb to the Slaughter: A Roald Dahl Short Story. New York: Penguin, 1953/2012. eBook. Dickens, Charles. Oliver Twist, or, the Parish Boy’s Progress. In Collection of Ancient and Modern British Authors, Vol. CCXXIX. Paris: Baudry’s European Library, 1838/1839. Duran, Nancy, and Karen MacDonald. “Information Sources for Food Studies Research.” Food, Culture and Society: An International Journal of Multidisciplinary Research 2.9 (2006): 233–43. Ephron, Nora. Heartburn. New York: Vintage, 1983/1996. Esquivel, Laura. Trans. Christensen, Carol, and Thomas Christensen. Like Water for Chocolate: A Novel in Monthly Instalments with Recipes, romances and home remedies. London: Black Swan, 1989/1993. Evans, Jeanne M. The Crime Lovers’s Cookbook. City: Happy Trails, 2007. Fluke, Joanne. Fudge Cupcake Murder. New York: Kensington, 2004. –– Key Lime Pie Murder. New York: Kensington, 2007. –– Cream Puff Murder. New York: Kensington, 2009. –– Apple Turnover Murder. New York: Kensington, 2010. Greenwood, Kerry, and Jenny Pausacker. Recipes for Crime. Carlton: McPhee Gribble, 1995. Greenwood, Kerry. The Corinna Chapman Recipe Book: Mouth-Watering Morsels to Make Your Man Melt, Recipes from Corinna Chapman, Baker and Reluctant Investigator. nd. 25 Aug. 2012 ‹http://www.allenandunwin.com/_uploads/documents/minisites/Corinna_recipebook.pdf›. –– A Question of Death: An Illustrated Phryne Fisher Treasury. Crows Nest: Allen & Unwin, 2007. Halmagyi, Ed. The Food Clock: A Year of Cooking Seasonally. Sydney: Harper Collins, 2012. Haywood, B. B. Town in a Blueberry Jam. New York: Berkley, 2010. –– Town in a Lobster Stew. New York: Berkley, 2011. –– Town in a Wild Moose Chase. New York: Berkley, 2012. Hyzy, Julie. State of the Onion. New York: Berkley, 2008. –– Hail to the Chef. New York: Berkley, 2008. –– Eggsecutive Orders. New York: Berkley, 2010. –– Buffalo West Wing. New York: Berkley, 2011. –– Affairs of Steak. New York: Berkley, 2012. Israel, Andrea, and Nancy Garfinkel, with Melissa Clark. The Recipe Club: A Novel About Food And Friendship. New York: HarperCollins, 2009. McHenry, Jael. The Kitchen Daughter: A Novel. New York: Gallery, 2011. Mitchell, Margaret. Gone With the Wind. London: Pan, 1936/1974 O’Reilly, Brian, with Virginia O’Reilly. Angelina’s Bachelors: A Novel, with Food. New York: Gallery, 2011. Payany, Estérelle. Recipe for Murder: Frightfully Good Food Inspired by Fiction. Paris: Flammarion, 2010. Peacocks Tearooms. Peacocks Tearooms: Our Unique Selection of Teas. 23 Aug. 2012 ‹http://www.peacockstearoom.co.uk/teas/page1.asp›. Piatti-Farnell, Lorna. “A Taste of Conflict: Food, History and Popular Culture In Katherine Mansfield’s Fiction.” Australasian Journal of Popular Culture 2.1 (2012): 79–91. Risson, Toni, and Donna Lee Brien. “Editors’ Letter: That Takes the Cake: A Slice Of Australasian Food Studies Scholarship.” Australasian Journal of Popular Culture 2.1 (2012): 3–7. Sayers, Dorothy L. Strong Poison. London: Hodder and Stoughton, 1930/2003. Schmidt, Shannon McKenna, and Joni Rendon. Novel Destinations: Literary Landmarks from Jane Austen’s Bath to Ernest Hemingway’s Key West. Washington, DC: National Geographic, 2009. Shange, Ntozake. Sassafrass, Cypress and Indigo: A Novel. New York: St Martin’s, 1982. Spang, Rebecca L. “All the World’s A Restaurant: On The Global Gastronomics Of Tourism and Travel.” In Raymond Grew (Ed). Food in Global History. Boulder, Colorado: Westview Press, 1999. 79–91. Taylor, Timothy. “Food/Crime Fiction.” Timothy Taylor. 2010. 17 Jul. 2012 ‹http://www.timothytaylor.ca/10/08/20/foodcrime-fiction›. The Moat Bar and Café. The Moat Bar and Café: Welcome. nd. 23 Aug. 2012 ‹http://themoat.com.au/Welcome.html›. Wenger, Shaunda Kennedy, and Janet Kay Jensen. The Book Lover’s Cookbook: Recipes Inspired by Celebrated Works of Literature, and the Passages that Feature Them. New York: Ballantine, 2003/2005.