This is the first general study of the earliest writers of Greek prose for students and teachers alike. Looking at history, medicine, science, philosophy and rhetoric, it asks why and how these new genres of writing came about in the fifth and fourth centuries BCE It is thus a study of the cultural and political revolution known as the Greek enlightenment, which has proved so influential and important for modern Western thought and society. Questions discussed include how and why rhetoric played such a role in democracy, how history written in prose changes a view of the past, and how science and philosophy construct new models of understanding what authority is. An exploration is offered of how literary history and social and political history interact. Written in a lively and clear style, the book makes a perfect introduction to the classical world of Athens.

This is the first general study of the earliest writers of Greek prose for students and teachers alike. Looking at history, medicine, science, philosophy and rhetoric, it asks why and how these new genres of writing came about in the fifth and fourth centuries BCE It is thus a study of the cultural and political revolution known as the Greek enlightenment, which has proved so influential and important for modern Western thought and society. Questions discussed include how and why rhetoric played such a role in democracy, how history written in prose changes a view of the past, and how science and philosophy construct new models of understanding what authority is. An exploration is offered of how literary history and social and political history interact. Written in a lively and clear style, the book makes a perfect introduction to the classical world of Athens.

The invention of literature, writes Florence Dupont, is recent, and its classical ancestry is not firm. Rather than representing solely the remains of a network of readers and writers, the odes, epics, tales, and dramas of Greece and Rome had a much more diversified background and purpose. Some works were intended to be read in groups; other works were not meant to be read at all. Resisting the traditional temptation to project current tastes and beliefs backward upon Greece and Rome. The Invention of Literature presents classical writings in all their differences. The labor of understanding a lyric or an epic as it was understood in its time requires a radical reconsideration of what reading is and what it means.

"A brilliant examination of literary invention through the ages, from ancient Mesopotamia to Elena Ferrante, showing how writers created technical breakthroughs as sophisticated and significant as any in science, and in the process, engineered enhancements to the human heart and mind"--

Crawforth presents a major re-reading of early modern poetry, demonstrating its debt to the emergence of linguistics in the period.

In a focused and compelling discussion, Anis Bawarshi looks to genre theory for what it can contribute to a refined understanding of invention. In describing what he calls "the genre function," he explores what is at stake for the study and teaching of writing to imagine invention as a way that writers locate themselves, via genres, within various positions and activities. He argues, in fact, that invention is a process in which writers are acted upon by genres as much as they act themselves. Such an approach naturally requires the composition scholar to re-place invention from the writer to the sites of action, the genres, in which the writer participates. This move calls for a thoroughly rhetorical view of invention, roughly in the tradition of Richard Young, Janice Lauer, and those who have followed them. Instead of mastering notions of "good" writing, Bawarshi feels that students gain more from learning how to adapt socially and rhetorically as they move from one "genred" site of action to the next.

No genre manifests the pleasure of reading—and its power to consume and enchant—more than romance. In suspending the category of the novel to rethink the way prose fiction works, Without the Novel demonstrates what literary history looks like from the perspective of such readerly excesses and adventures. Rejecting the assumption that novelistic realism is the most significant tendency in the history of prose fiction, Black asks three intertwined questions: What is fiction without the novel? What is literary history without the novel? What is reading without the novel? In answer, this study draws on the neglected genre of romance to reintegrate eighteenth-century British fiction with its classical and Continental counterparts. Black addresses works of prose fiction that self-consciously experiment with the formal structures and readerly affordances of romance: Heliodorus’s Ethiopian Story, Cervantes’s Don Quixote, Fielding’s Tom Jones, Sterne’s Tristram Shandy, and Burney’s The Wanderer. Each text presents itself as a secondary, satiric adaptation of anachronistic and alien narratives, but in revising foreign stories each text also relays them. The recursive reading that these works portray and demand makes each a self-reflexive parable of romance itself. Ultimately, Without the Novel writes a wider, weirder history of fiction organized by the recurrences of romance and informed by the pleasures of reading that define the genre.