1980
		semiannually
		English (preferred) and Spanish
		English linguistics; Literature written in English; Film Studies; Cultural Studies
		1137-6368

Manuscripts not conforming to these guidelines will be returned to the authors for revision. Authors are expected to provide three copies of their manuscript, double-spaced, with wide margins, on plain, standard A4. No disk version is required at this stage. Only when the manuscript has been finally accepted will an e-mailed copy of the final version be asked for (WordPerfect or Word format). The following information should appear on the first page: full title, author's full name, affiliation, and address (including e-mail). An abstract of no more than 200 words should also be provided, together with five key words. Contributors are advised to keep a copy of their MS since originals are only returned when alterations have to be made. Citations Double quotation marks should be used for citations. Single quotes may be used to draw attention to a particular item in the text. Italics are used for foreign words, or for emphasis. References in the text to publications should include the author's surname, the year of publication, and, if necessary, page numbers, as in the following examples:   ... narrative to their function (Labov and Waletzky 1967: 12).   ... following Blakemore (1987: 35),   ... perform a distinctive function in discourse (Blakemore 1987).   ... this issue has received a lot of attention by relevance theorists (Blakemore 1987, 1992; Wilson and Sperber 1993).  Should part of the original text be omitted, this will be made clear by inserting [...],  NOT (...).  Bibliographical references Bibliographical references should be included in alphabetical order at the end of the manuscript and under the heading WORKS CITED. Authors' full first names should be used unless the authors themselves customarily use only initials. References to two or more works by the same author in a single year should be accompanied by a lower-case a, b, etc. after the year of publication, both in the reference list and in citations in the text. References to books should include the place of publication and the publisher's name, and references to articles in journals should include volume, issue number (if necessary) and page numbers. Titles of books and journals will be written in italics. Titles of articles and of book chapters will be placed in double inverted commas. Examples:   Monographs:  Author's surname(s), Author's first name(s). Year. Title in italics. Place: Publisher. Author's surname(s), Author's first name(s). (Year of 1st edition) Year of edition actually used. Title in italics. Place: Publisher. Editor's surname(s), Editor's first name(s). (ed.). Year. Title in italics. Place: Publisher. First author's surname(s), First author's first name(s), Second author's first name(s) Second author's surname(s) and Third author's first name(s) Third author's surname(s). Year. Title in italics. Place: Publisher. Author's surname(s), Author's first name(s). Year. Title in italics. Trans. Translator's initials. Translator's surname(s). Place: Publisher.  Chapter or article in a monograph: If only one chapter or article has been used:  Author's surname(s), Author's first name(s). Year. Title in double inverted commas. In Editor's surname(s), Editor's first name(s). (ed.). Title of monograph in italics. Place: Publisher: 00-00.  If two or more chapters/ articles have been used:  Author's surname(s), Author's first name(s). Year. Title in double inverted commas. In Editor's surname(s), Editor's initials. (ed.): 00-00.  If the book is a compilation of another author's works:   Author's surname(s), Author's first name(s). (Year of 1st edition) Year of edition actually used. Title in italics. Ed. Editor's initials. Editor's surname(s). Trad. Translator's initials. Translator's surname(s). Place: Publisher. Article in a periodical or  journal: Author's surname(s), Author's first name(s). Year. Title in double inverted commas. Name of journal in italics,number (volume): 00-00. Examples: Gerlach, John. 1989. The Margins of Narrative: The Very Short Story. The Prose Poem and the Lyric. In Susan Lohafer and Jo Ellyn Clarey. (eds.). Short Story Theory at a Crossroads. Baton Rouge: Louisiana U.P.: 74-84.  Neale, Steve. 1992. The Big Romance or Something Wild? Romantic Comedy Today. Screen 33 (3) (Autumn 1992): 284-299.  Williams, Tennessee. 1983. La gata sobre el tejado de zinc caliente. Trans. A. Diosdado. Madrid: Ediciones MK.  The following norms should also be taken into account:  * Footnotes should be as few and short as possible, and their corresponding numbers in the main text should be typed as superscripts. * Additional comments should appear in between long dashes, leaving no spaces in between the dashes and the text within them. * There should be no full stops after interrogation and exclamation marks. * Inverted commas should never appear after punctuation marks * Current (CG Times or Times New Roman) typefaces should be used, and special symbols should be avoided as much as possible. * & should be avoided whenever possible. * Generally speaking, punctuation and orthography should be coherent (British or American style) all through the article. For example: emphasise/ recognise rather than emphasize/ recognise; colour/ colour rather than colour/ color.

Miscelánea: A Journal of English and American Studies

Miscelánea publishes articles on English language and linguistics, on literatures written in English, on thought, cinema and cultural studies from the English-speaking world. Unsolicited contributions, in English or Spanish, should be unpublished (and not being considered for publication elsewhere). Please send three copies (no diskette) to the Editor, Miscelánea, Departamento de Filología Inglesa y Alemana, Facultad de Filosofía y Letras, Universidad de Zaragoza, 50009 Zaragoza, Spain. Only one copy will be returned if requested. Papers may be published if they receive favourable reports from readers who are specialists in the area. Readers will not be apprised of the authorship of these articles. The authorship of the reports will also be confidential, though their purport may be communicated to the contributors concerned if so desired. Invited (non-refereed) contributions from leading scholars will be acknowledged as such. There will be no restrictions placed on authors' use of their material for reprints or other publications as long as their first publication is acknowledged. The criteria for selecting unsolicited contributions will be basically: their global interest and originality, their theoretical and methodological rigour, the development of a well defined thesis, the quality of their style and the general observance of the norms required of work of an academic nature. The papers submitted should evince serious academic work contributing new knowledge or innovative critical perspectives on the subject in question. Articles that are of a merely popularizing nature will not be accepted. Readers will be required to weigh up the articles that are sent to them and make out as soon as possible a written report describing the article in terms of the points itemized in an evaluation form. In the case of articles that have not been accepted or need revision, an additional report will be made out indicating the reasons for non-acceptance, or the changes to be made as the case may be. Although every effort will be made to publish contributions that have received favourable reports, the Editor reserves the right to make a further and final selection when the number of contributions with favourable reports is in excess of the number of articles that can be conveniently published in one issue of the Journal. In the case of partially negative reports as well as positive ones on the same article, the final decision will lie with the discretion of the Editor, who will weigh up the reports and the general interest of the subject matter of the article. Additional reports may also be sought. The recommended length for articles is of 4,000 to 8,000 words. Reviews are also accepted of books that are of general interest in the field of English studies and that have been published within the last four years (recommended length: 1,500 words). Translations of short texts that are of special interest are also accepted. Book reviews and translations will be accepted for publication at the discretion of the Editor, who may require additional reports. The articles submitted should stick to the Publication Guidelines included in this volume. The editors may correct clerical or factual errors and introduce stylistic corrections without further notice. The papers will also have to be sent as electronic documents (attachments) to prepare proofs once a paper has been accepted for publication. No off-prints are supplied. The authors will receive some copies of the journal.

» Visit Journal Web Site

Literature, Film, and Cultural Studies , Vol. 30

Writing the Life of the Text: The Case of W. B. Yeats

By WARWICK GOULD
Using authors' and publishers' archives textual biography can trace multitudinous textual lives, afterlives and new lives in real incarnations. Those latter categories are whole subjects in themselves, and for other occasions: my examples in this paper are confined to the lives of certain texts during the lifetime of W. B. Yeats. My point of departure is Yeats's well-known textual restlessness. He endlessly revised his work, and I was once inclined to see this as others had seen it, as evidence of a Darwinian process of aesthetic self-criticism, within the narrow focus of the work -the word, the line, the poem. At the core of such textual instability is authorial intention itself: in Yeats's case the destabilising dream of finality, perfectionism, a collected works, an oeuvre, which he openly wanted from 1895 onwards. What might be labelled as the life of the text would lie beyond edited forms of it, in the history of books, in publishers' archives such as Macmillan's and in research collections of life documents and MSS. Every serious reader of Yeats engages at some level with that life of the text, which is why I am trying to write it. I find this process permits an intimate and sustainable recuperation of that concept so derided a few years ago: intention, a recoverable, mutating, demonstrable intention not foreclosed at, or by, the publication of the text. My argument, then, is a plea for the application of book historical methods to the construction of inner lives. It involves an accommodation of literary genetics and publishing history to single author bibliography.

The Canon Pro and Contra: The Canon is Dead: Long Live Pick-and-Mix

By HERBERT GRABES
The chief argument against the traditional canon is, of course, that it has been a vehicle for national superiority. Yet it is indubitably the case that the creation of a canon of English literature over the centuries is indeed closely bound up with the formation of British national identity. What was produced in this way was largely --an entirely gentlemanly artefact (to use Lillian S. Robinson's phrase for the blatant neglect of women authors), as has been amply demonstrated by feminist scholars in recent decades. Quite apart from this, however, the traditional British versions of the canon of English literature are astonishingly broad and are much less in need of an 'opening up' than many of the more belligerent 'canon busters' claim. Without denying that any canon-making implies competition and value-statements that create hierarchies, it is argued that the formation of literary canons is indispensable in order to keep the literature of the past within cultural and collective memory (not forgetting, too, that the past begins yesterday). Only those acquainted with a fair amount of our literary heritage, after all, will have a chance to individually 'pick-and-mix' and thus to subvert the canonical order that has been their starting-point. This also means that the canon is not a sanctuary but an ongoing project --and one that we relinquish at our collective peril.

Europa in Wonderland: Goblin Market or Sappho’s Gymnasium?

By E. DOUKA KABITOGLOU
Europa, the 'godmother' of Europe, operates as a hostess and 'instructor' in the diachronic journey over the European pedagogic landscape that is attempted in this presentation, initiating us into an adventure in the educational wonderland which begins at the topos of her 'adopted' country: Greece. Taking for granted that for the Greeks education was based on a profound relationship between two people, one young and the other mature, who was at once model, guide and initiator, and moreover that it adopted a cult of the Muses seeking wisdom through an aesthetic and 'erotic' approach to life, Sappho and Socrates are introduced as paradigms of the Greek system of schooling. Socrates' educational 'opponents', the Sophists, are seen as the founders of utilitarianism, forerunners of the modern commercialism of education. Christina Rossetti's poem Goblin Market is used (because of its multi-layered title suggesting the triumph of a 'commodity' morality) as the bridge to carry us to the present condition of the European university. Tracing the steps that have led to the formation of the European Higher Education Area, the presentation highlights the gradual transformation of education from a public goodto a marketable 'product'. Attending to voices of dissent (expressed by members of ESSE) and setting the whole problem in a larger philosophical context, we can hear a Socratic echo in Heidegger, Gadamer, and Derrida who profess the 'questioning' attitude as the only form of knowledge. Hoping that 'memory' may reveal forgotten signs from the past to guide us through the schizoid split tormenting today's academy, we return with Olga Broumas to Sappho's Gymnasium lest that maternal presence may give/be the answer.

The Language of Film: Corpora and Statistics in the Search for Authenticity. Notting Hill (1998): a case study

By CHRISTOPHER JOHN TAYLOR
While it is well known that film scripts generally fall short of capturing the varied and subtle characteristics of spontaneous dialogue, it is less clear exactly how and to what extent such language fails to ring true. Extensive investigation into the components of both spontaneous talk and film discourse over a wide range of film and television material have proved a solid basis on which to extend research in this field. With the aid of corpus linguistics and the assistance of statistics experts, some interesting phenomena have been uncovered relating directly and indirectly to the original aims of the research. For example, comparisons of British and American film and TV scripts with spoken language corpora such as those within the Bank of English project and the San Diego spoken language corpus, have already provided material to prove the hypotheses about the lack of authenticity in film material. But observing the changes that take place between an original script and the transcription of the final version of a film text is more illuminating, as are the statistical analyses that show how particular language features occur in clusters and bundles (Biber et al 2004), and how combinations of word and word groups seem primed (Hoey 2004) for different film genres. This paper therefore sets out to illustrate the methodology employed in this particular study of film language, explain the results obtained and present the serendipitous findings that the research threw up, with particular reference to the film Notting Hill.

Other Issues

Literature, Film and Cultural Studies, Volume 40
Language and Linguistics, Volume 39
Language and Linguistics , Vol. 29