Books published by Legenda

Gravity and grace are spiritual terms, but they can also offer us a way to think about literature. Grace may mean not only the felicity and ease - what Schiller refers to as the 'mobile beauty' - inhabiting certain works of art, but also the sense of something given, or about to be given, by a work as we read it: something incalculable, perhaps accidental, but vital and regenerative. Like a promise, this quality also needs gravity, a sense of substance within it. The gracefulness of a dancer relies upon gravity, and the grace of a text depends on the weight of words. These matters are pursued here in essays on subjects ranging from Voltaire to Ali Smith, from Baudelaire to Beckett, not forgetting Mallarmé, and offered to Roger Pearson in honour of the grace and gravity of his own writing.

In the late Middle Ages, the Low Countries - ruled by the Dukes of Burgundy and their Hapsburg successors - boasted a dynamic literary culture in both French and Dutch. Speakers of these languages interacted in more ways than might be expected. Writers shared topics and techniques; works were translated; printers who spoke one language published material in the other. The Multilingual Muse brings together an unprecedented community of scholars, both historians and literary specialists, to chart these interactions. It reveals that poetry, far from resisting linguistic and cultural translation as is widely supposed, was a deeply transcultural enterprise in the region.Adrian Armstrong is Centenary Professor of French at Queen Mary University of London. Elsa Strietman is a Fellow Emerita of Murray Edwards College, Cambridge and was Senior Lecturer in Dutch, University of Cambridge.

Discourses of degeneration (social, political, medical) peaked in the 1890s across Europe, and posited the moral and biological decline, even sterility, of European nations. In early twentieth-century Spain, the novels of Pío Baroja and Vicente Blasco Ibáñez both assimilated and subverted the cultural myths of degeneration that were fuelled by influential European theorists such as Bénédict Morel, Cesare Lombroso and Max Nordau. In the light of widespread anxieties about reproduction and national decadence, this interdisciplinary book traces the creative tension between each author's literary representations of the degenerate female body and the consumer agency of women readers. Through its alignment of gender paradigms and degenerationism in Baroja and Blasco Ibáñez, Bodies of Disorder offers a challenge to established hierarchies of canonical and popular fiction. Countering Baroja's resounding public disdain for his Valencian contemporary, Katharine Murphy repositions Blasco as markedly closer to the so-called 'Generation of 1898' than hitherto acknowledged.Dr Katharine Murphy is Senior Lecturer in Hispanic Studies at the University of Exeter. Author of Re-reading Pío Baroja and English Literature (2004), she has published widely on Comparative Literature and Spanish Modernism.

Texts of different kinds grant insight into the rich cultural canvas of the Middle Ages: epic poetry, vernacular lyric, and music; liturgical rites and ceremonial manuals; manuscripts, illuminations, modern adaptations and editions, and many more. Adopting a range of disciplinary perspectives-literary studies, liturgical studies, and musicology-this collection of essays reveals the two-fold performative nature of such texts: they document, mediate, or prefigure acts of performance, while at the same time taking on performative roles themselves by generating additional layers of meaning. Focussing on acts, authors, and performative processes of reception, the contributors demonstrate the significance of the performative to the culture and study of the High and Late Middle Ages (c.1000-1500), from troubadour songs and Minnesang to motets, from the biblical figure of Job to Christine de Pizan and Dante, from Scandinavia to Béarn and Imperial Augsburg.Henry Hope (Music) and Pauline Souleau (French) are early-career researchers at the universities of Bern and Oxford; with Ardis Butterfield (John M. Schiff Professor of English, Professor of French and Music at Yale University) they share an interest in transcending linguistic, national, generic, and disciplinary borders in the study of medieval texts.

Both comparative criticism and translation cross borders, yet borders that have been crossed still exist. Even a border that has been dismantled is likely to reappear in a different place, or as a less obvious set of limiting practices: migrant texts and migrant ideas, like migrant people, may not achieve full citizenship in their new locations. Of course, there is a creative aspect to borders too, as postcolonial theory in particular has emphasized. Borders are contact zones, generators of hybridity, spaces of exchange, cross-fertilization, and enrichment. For all these reasons, borders require minding - thinking about, managing, even in a sense policing.Rather than celebrating the crossing of borders, or dreaming of their abolition, Minding Borders traces their troubling and yet generative resilience. It explores how borders define as well as exclude, protect as well as violate, and nurture some identities while negating others. The contributors range comparatively across geography, politics, cultural circulation, creativity, and the structuration of academic disciplines, hoping that the analysis of borders in one domain may illuminate their workings in another. Whatever other form a border takes it is always also a border in the mind.

Early modern Spanish American poetry (c. 1500-1700) is a fascinating but little-studied aspect of Hispanic colonial culture. Spanish American poetry was transmitted in material ways, not simply as an intellectual and literary phenomenon. Poetry was considered as a written and oral object, disseminated, conditioned and controlled by a range of societal players both within and beyond the urban space. While the obvious networks of interchange connected the European metropolis to the burgeoning colonies, there were also cross-regional connections in Central and South America. As performance art, poetry connected with other art forms in the region - music, painting and sculpture - but as an act of devotion it also intersected the history of early American religious culture.This wide-ranging and highly interdisciplinary volume offers pioneering work bringing together scholars from both Europe and the Americas, North and South.Rodrigo Cacho is Reader in Spanish Golden Age and Colonial Studies at the University of Cambridge. Imogen Choi is Associate Professor of Spanish at Exeter College, University of Oxford.

H. G. Adler (Prague, 1910-London, 1988), a survivor of Theresienstadt, Auschwitz, and two other Nazi concentration camps, is unique for his scholarly and creative approach to the traumas of the Second World War. While Adler became a pioneer in the now well-established field of Holocaust studies, he was nearly forgotten as a prolific author of poetry and prose. The tables have turned in recent years. English translations of his major fictional works have led to an international literary reception. At the same time, his groundbreaking historical work deserves renewed attention.This edited volume elucidates Adler's complex reception history and is the first comprehensive interdisciplinary publication that responds to his new international acclaim. In addition to offering innovative perspectives on Adler's individual works, the major intervention of the volume is the examination and contextualization of Adler's significant contributions to literary modernism and scholarly investigations of persecution and genocide under National Socialism.Lynn L. Wolff is Assistant Professor of German Studies at Michigan State University.

Chantal Akerman was one of the most significant directors of our times. A radical innovator of cinematic forms, she was at the forefront of feminist and women's filmmaking. In the 1990s, she developed an important installation practice and began to experiment with self-writing.Focusing on Akerman's works of the last two decades, a period during which she diversified her creative practice, this collection traces her artistic trajectory across different media. From her documentaries 'bordering on fiction' to her final installation, NOW, the volume elucidates the thematic and aesthetic concerns of the later works, placing particular emphasis on self-portraiture, the exploration of intimacy, and the treatment of trauma, memory and exile. It also attends to the aural and visual textures that underpin her art. Drawing on a wide range of theoretical approaches as well as engaging more creatively with Akerman's work, the essays provide a new optic for understanding this deeply personal, prescient oeuvre.Marion Schmid is Professor of French Literature and Film at the University of Edinburgh. Emma Wilson is Professor of French Literature and the Visual Arts at the University of Cambridge.

As Albert Camus once remarked: 'Of capital punishment, people write only [...] in a low voice.' Journalists and state officials alike use a carefully policed language when making any reference to the death penalty: when human beings are to be executed by the state, some key actors talk about what will be done in terms of legalities and procedures. Does fiction provide a counterbalance for that discretion, or simply echo it? What other perspectives can it bring into the foreground, and can literary language express a response to a supposedly necessary horror, or a terrible injustice, which other voices or media cannot?Considering a range of major works from across Western Europe and the United States, from the 18th century until the present day, Death Sentences investigates the contribution of poetics to our understanding, past and present, of capital punishment. The sophisticated literary representations found in Hugo, Dostoevsky, Wilde, Kafka, Mailer, King and others offer a privileged vantage point from which to illuminate and critique a unique institution which itself relies heavily on spectacle and representation to be operative and legitimized.Birte Christ is Assistant Professor of American Literature and Culture at Justus-Liebig-University Giessen. Ève Morisi is Associate Professor of French and Fellow of St Hugh's College at the University of Oxford.

This volume offers a unique and fresh perspective on Italian Futurism by approaching it, for the first time, through the lens of microstoria. In this 'history from below' of what is one of Europe's most famous and important avant-garde movements, large-scale questions on the history of Futurism are explored by focusing on objects, practices and situations as diverse as The Church, Puppets, The Letterhead or Gymnastics. With contributions from fifteen renowned international scholars, the book offers an exciting, kaleidoscopic view of Futurism and its multiple artistic, political and societal connections. The final chapter of the book is an interview with Günter Berghaus, one of Futurism's most dedicated and prolific scholars today, to whom the book is dedicated.Sascha Bru is Professor of General and Comparative Literature at the University of Leuven; Luca Somigli is Professor of Italian at the University of Toronto; Bart Van den Bossche is professor of Italian Literature at the University of Leuven.

One writer, Mary Shelley, inaugurated two of the three paradigms through which human beings imagine, with panic or pleasure, the end of their species. Complementing her visions of a world-encompassing natural plague (The Last Man, 1826) and man-made technological self-eradication (Frankenstein, 1818), the third - and oldest - paradigm of how to depict humankind's demise is the religious notion of Apocalypse, God's Day of Reckoning. Through in-depth philosophical and theological contextualization of the German, French and British literary settings of the apocalyptic tradition around 1800, Sublime Conclusions chronicles the transition from theism and deism to atheism and the 'Death of God' on which, Weninger contends, Shelley's novels - and hence modern science fiction in general - are premised. A tour de force of comparative methodology, Weninger's transdisciplinary approach is as wide-ranging as it is meticulous, interweaving the manifold discourses of catastrophe in literary history, art and film history, philosophy and theology, as well as the history of science and science fiction, across more than two centuries of European intellectual history from Voltaire's mid-eighteenth-century response to the earthquake of Lisbon to Günther Anders's presaging, in the wake of Hiroshima, humankind's extinction through nuclear Armageddon.Robert Weninger is Emeritus Professor of German and Comparative Literature at King's College London.

Reading Decadence is an intersensorial experience. It is to indulge in voluptuous pleasures and excruciating pains, to sample exotic tastes and sounds, and to envisage states of mind in highly sensual terms. Obsessed with extreme sensory experiences, Decadent writers identified ways of shocking the middle classes and rejecting moralism by turning the conventional notion of 'good taste' on its head. This collection of essays explores the Decadent sensorium in the work of established and less well-known Decadent writers and artists, including Rachilde, Theodore Wratislaw, Arthur Symons, Mark André Raffalovich, J.-K. Huysmans, Theodore Watts-Dunton, Michael Field, Ernest Dowson, and Stéphane Mallarmé. Tracing sensual motifs and figures in the work of late nineteenth-century Decadent writers and artists, leading and emerging scholars in the field offer new and provocative insights into the Decadent imagination.Jane Desmarais is Senior Lecturer in English at Goldsmiths, University of London. Alice Condé is a Postdoctoral Research Associate in the Department of English and Comparative Literature at Goldsmiths, University of London.

Throughout the centuries, the Italian peninsula has played an important role as a crossroads where different cultures met, transformed and continued their journeys. This volume retraces some of these crossings, in the fields of literature, architecture and cinema: from the influence of the classical heritage, to the origins and diffusion of the Italian Renaissance, to the role of individuals in the discovery and transmission of knowledge, and the dialogue in and through translation with other national cultures, European and beyond.The volume marks the retirement of Martin McLaughlin from the Agnelli-Serena Chair of Italian Studies at the University of Oxford and celebrates his highly distinguished career in Italian studies. Professor McLaughlin's research has ranged from classical literatures to the Renai­ssance and to modern and contemporary literature. He has published a host of ground-breaking books, edited volumes, articles and book chapters on a wide range of topics, as well as outstanding translations of Calvino and Eco. No less significant have been his teaching, his roles in the running of academic journals and monograph series, and his contributions to the life of the academic community.

The Italian critic Francesco De Sanctis (1817-1883) identified Italianness with backwardness in order to oppose it to European modernity and promote a process of Europeanization of Italy. Two targets stood out in his attack on Italian backwardness: Chivalry and the Academies. A century and a half later we are able to acknowledge the continuity rather than the break between Italian early modernity and European modernity, revisiting a biased paradigm that no longer works and reassessing the historical importance of Chivalry and the Academies as cultural mediators. Divided into three sections devoted to chivalric poems, academic debates and Anglo-Italian relations, and dedicated to the work of Jane E. Everson, who has highly contributed to the re-evaluation of Italian early modernity, this volume gathers together some of the major experts of early modern Italy and highlights the relevance of Italian early modernity in framing and shaping European culture well into our contemporary world.Jane E. Everson is Professor Emerita of Italian at Royal Holloway University of London. Stefano Jossa is Reader in Italian, and Giuliana Pieri Professor of Italian and the Visual Arts, at Royal Holloway University of London

The philosopher María Zambrano (1904-1991) is one of the foremost Spanish intellectuals of the twentieth century. A disciple of Ortega y Gasset, she taught at the University of Madrid in the 1930s and joined the Republican diaspora in exile, living in México, Cuba, Puerto Rico, Paris, Rome and Geneva till her return to Spain in 1984. A heterodox philosopher who conceived her role as that of an agent for ethical change, she sought to reconcile philosophy and poetry, and wrote not only essays on philosophy, but also plays, poetry, literary and art reviews, and a memoir. After the relative obscurity of her life in exile, her genius began to be recognized in the decade before her death, but she remains little known outside the Spanish-speaking world. These essays explore her legacy, offering new critical insights which draw on literature, aesthetics, gender studies, psychoanalysis, political theory and the visual arts.The editors teach modern Spanish literature at the University of Oxford, where Xon de Ros is a Tutorial Fellow at Lady Margaret Hall and Somerville College, and Daniela Omlor is a Tutorial Fellow at Lincoln College and a Lecturer at Jesus College.

Parental profligacy and the dishonesty of his guardian meant that when Edmund Spencer came of age in 1732 he inherited only a fragment of the estates that his great-great-grandfather, the Elizabethan poet Edmund Spenser, had amassed in Ireland. To keep himself and his family in a manner appropriate to their status Spencer had to find an income. His plan to publish the collected works of his ancestor foundered on the unrest caused by the 1745 Jacobite rebellion; posts in the army and the revenue proved just as elusive.In this collection of 120 letters, written to relatives in Wales, we follow his sometimes desperate hunt for preferment in Dublin and elsewhere, making full use of an extended network of patronage which includes, rather surprisingly, a number of Jacobite sympathisers. Along the way he paints a vivid picture of everyday life in eighteenth century rural Ireland, deploring bad harvests, making fun of extravagant spending at elections, dispensing alarming medical advice as well as passing on news about deaths and marriages, and gossip about elopements.This annotated edition of Spencer's letters will be of interest to both scholars and general readers eager to learn more about life in Georgian Ireland.Duncan Fraser is a visiting research fellow and Andrew Hadfield Professor of English, both at the University of Sussex.

The relationship between the made and the found is one of the most fertile tensions in modern French literature. This collection of critical and creative writing explores how the interplay between the given and the imagined, the real and the virtual, the world as we find it and the world as we make it, functions as a generative matrix for literary experimentation. Each contributor considers the question of attention and explores how attending to something -- a text, a place, a moment, a detail -- has the capacity to transform both perceiver and perceived.Drawing together analyses of diverse literary practices - the everyday, new autobiographical forms, contemporary poetics, textual and visual experiments, anthropology, urbanism, flânerie and archival work -- this volume invites us to make new connections between many well-established themes. Critical thinking by renowned scholars appears alongside poetry and prose by leading writers from France and Britain, forging new relationships between scholarly and creative practices and challenging us to cross the border between the two.This volume is in memory of Professor Michael Sheringham, whose ground-breaking works on autobiography, the everyday, and the archive redefined the field of French Studies. A remarkably perceptive cultural and literary critic, he published and spoke all over the world, and was particularly renowned for his friendships and collaborations with a wide range of critics and writers.

The Rhetoric of Exile explores the rhetorical construction of force in indirect exile and in literary responses to it. Between banishment, a compulsory exile, and expatriation, a voluntary one, many legal systems have allowed for a third model. Such an exile is pragmatic and ambiguous in nature: the degree of compulsion is never explicitly defined, but all agents involved understand that it is real. As far back as the Roman Republic, there have been exiles who felt considerable duress but could not pin it down to any specific legal document or judicial decision, and these victims of silent persecution are all the more likely to brood on the elusive force over them, and to recreate it by imaginative means. What is displaced and hidden in law - force as metonymy -- returns as a potent and condensed image in literature -- force as metaphor.Vladimir Zori¿ is Assistant Professor in Russian and Slavonic Studies at the University of Nottingham.

In this highly original study, Ewa Szypula reappraises the intriguing correspondence between the French novelist and his literary lover, the Polish countess Evelina Hanska. Whereas critics have used this correspondence primarily as source material for biographical and critical studies, this volume approaches the letters as a literary text in their own right. Vacillating between reality and fiction, Balzac essentially created his ideal correspondent through his letter-writing, attributing to Madame Hanska various qualities which she did not necessarily possess.In a series of close readings, Szypula explores the origins of this correspondence, analyzing its echoes and re-workings of Balzac's earlier relationships; shows how the letters help Balzac hone his literary skills and offer the chance to reinvent himself through playing different roles; and proposes the letters to Evelina as a prism through which to contextualise Balzac's subsequent storytelling.Balzac's Love Letters brings together correspondence and fiction to reveal crucial new insights into his literary imagination, whilst documenting an idealized romance which might be seen as his last great novel.

This volume borrows its title from the first international Yiddish bestseller, Sholem Asch's epic trilogy Three Cities. Whereas Asch portrayed Jewish life in St Petersburg, Warsaw and Moscow at the crucial historical moment of the collapse of the Russian Empire, this volume examines the variety of Yiddish publishing, educational, literary, academic, and theatrical activities in the former imperial metropolises from the late nineteenth through to the late twentieth century, and explores the representations of those cities in Yiddish literature.Gennady Estraikh is Associate Professor of Yiddish Studies, New York University. Mikhail Krutikov is Professor of Slavic and Judaic Studies at the University of Michigan.

The award-winning writer Pascal Quignard (1948-) has published many texts and has collaborated with painters, musicians and filmmakers. Yet despite the popularity and critical recognition of his work, Quignard remains a discreet and fleeting presence in the current cultural landscape, sharing with other contemporary French writers the belief that literature is a form of self-effacement.In this first critical study in English, Léa Vuong offers a comprehensive survey of Quignard's still growing oeuvre by examining his specific attempts to produce disappearance through -- and for -- writing. His texts and collaborations appear as vanishing acts where the writer, like the figure on the Tomb of the Diver found in Paestum, remains suspended between presence and absence.

Radical bodily transformation can be shocking, terrifying and wonderful. But what makes it such compelling literary subject matter, and what place does it have in modern Germany? Tara Beaney analyses metamorphosis in literary texts from the Romantic period onwards, focusing on the affects involved. This emphasis allows for a unique insight into ways of experiencing bodily change, into threatened identities, and into changing affective styles across the nineteenth and twentieth centuries. Ranging from canonical texts by E.T.A. Hoffmann and Franz Kafka to the work of post-war and post-Wende writers Marie Luise Kaschnitz and Jenny Erpenbeck, as well as the cross-cultural writer Yoko Tawada, this study shows how narratives of metamorphosis help us negotiate the social and political changes, and the experience of shifting boundaries and identities, that are so pertinent to modern Germany.Tara Beaney is Lecturer in German at the University of Aberdeen.

The French art novel, with its tales of artists, models and creative struggles, is often thought to be a specifically nineteenth-century phenomenon, which dies out by 1900. This wide-ranging, interdisciplinary study argues that the art novel does not in fact disappear but rather undergoes a series of transformations in the early twentieth century, in step with radical changes in the visual arts of the period. Examining both well-known and all-but-forgotten novels, Shingler examines the ways in which they move on from their nineteenth-century predecessors, as the development of avant-garde movements makes questions of aesthetic value and authenticity ever more pressing; as changing gender roles increasingly put pressure on writers to acknowledge female creativity; and as the emergent art of the cinema comes to compete with painting as the primary visual reference point for writers.Katherine Shingler is Assistant Professor in French and Francophone Studies at the University of Nottingham.

In her ever-evolving career, the legendary filmmaker Agnès Varda has gone from being a photographer at the Avignon festival in the late 1940s, through being a director celebrated at the Cannes festival (Cléo de 5 à 7, 1962), to her more ironic self-proclaimed status as a 'jeune artiste plasticienne'. She has recently staged mixed-media projects and exhibitions all over the world from Paris (2006) to Los Angeles (2013-14) and the latest 'tour de France' with JR (2015-16). Agnès Varda Unlimited: Image, Music, Media reconsiders the legacy and potential of Varda's radical tour de force cinématique, as seen in the 22-DVD 'definitive' Tout(e) Varda, and her enduring artistic presence. These essays discuss not just when, but also how and why, Varda's renewed artistic forms have ignited with such creative force, and have been so inspiring an influence. The volume concludes with two remarkable interviews: one with Varda herself, and another rare contribution from the leading actress of Cléo de 5 à 7, Corinne Marchand.Marie-Claire Barnet is Senior Lecturer in French at Durham University.

This book examines both classic and less-known works of Dutch literature from the Middle Ages to the twenty-first century. Its starting-point is that both authors and readers are born into a network of ideologies. But how do these ideologies work, and how do they serve to legitimize various forms of subjugation? Judit Gera surveys literary representations of the Dutch colonial experience and of women's lives in male-dominated societies, showing how colonial and gender-based forms of subjugation are interrelated and often intersect.Judit Gera is Professor of Dutch Literature at the Eötvös Loránd University Budapest, Hungary.

John Ruskin's training as an interdisciplinary polymath started in childhood. He learned to memorise the Bible at his mother's knee and published his first poem aged ten. His lifelong fascination with geology found its earliest expression in journal articles from the age of fifteen, while his considerable talents as a draughtsman were developed by leading drawing masters before he was sixteen. Rather than being a prodigy in one particular field, it was his precocious mix of religion, science and art that laid the foundations for the fulfilment of his career as a critic of art, architecture and society. The cultural tours that he made with his family as he grew up provided the crucial focus for these developing interests, and the second extended tour of the Continent in 1835 at the age of sixteen in particular established the paradigm for his orchestrated representation and analysis of cultural experience along 'the old road', through France to Chamonix, and through the Swiss Alps to northern Italy as far as Venice.His diary of the journey and associated writings, together with numerous drawings he made in relation to it, are annotated and fully catalogued for the first time in this edition that includes maps and an introductory essay.

What do we know of the city of Rome, beyond the repertoire of images of universally recognisable monuments? In this new volume, architects, planners, historians, literary and film theorists come together to discuss the city beyond the walls: the city where the majority of Romans live, and the extended city of the Romans themselves. Beyond its heritage status, Rome today is a metropolis facing the same challenges as any major city, yet continuingly shaped by both its imaginary and its real landscape. Particular time periods and lesser-known cultural artefacts are discussed as factors that have made Rome the city it is now, both for those who visit in such large numbers and for those who live there.Lesley Caldwell is Honorary Professor in the Psycho­analysis Unit, and Honorary Senior Research Associate in the Department of Italian, at University College London. Fabio Camilletti is Reader in Italian at the University of Warwick.

This three-volume set brings together current research in the history of language learning and teaching (HoLLT) in Europe and beyond. Providing the first overview of research in the field, it will be an indispensable reference for teachers, teacher educators and all those interested in the history of language learning and teaching and the history of applied linguistics avant la lettre.Part I of Volume III (The Place of Culture in Language Teaching) examines the history of how 'foreign cultures' have been presented to learners in language classrooms and language materials. Part II (Beyond Europe) presents studies of the history of language learning and teaching beyond Europe, including the Middle East, China, Japan, India and New Zealand.Nicola McLelland is Professor of German and History of Linguistics at the University of Nottingham. She has published widely in the history of German linguistics and the history of language learning, and is co-editor of the journal Language & History.Richard Smith is a Reader in English Language Teaching and Applied Linguistics at the University of Warwick. Founder of the Warwick ELT Archive and the AILA Research Network on History of Language Learning and Teaching, he has been active in the fields of historical research and teacher-research in language education.

This three-volume set brings together current research in the history of language learning and teaching (HoLLT) in Europe and beyond. Providing the first overview of research in the field, it will be an indispensable reference for teachers, teacher educators and all those interested in the history of language learning and teaching and the history of applied linguistics avant la lettre.The chapters in Volume II present case studies from the period when modern languages became established in school curricula across Europe and when modern language teaching became professionalized. The chapters consider 19th-century innovations in Europe including the Reform Movement and its precursors, as well as developments in policy and practice in the 20th century.Nicola McLelland is Professor of German and History of Linguistics at the University of Nottingham. She has published widely in the history of German linguistics and the history of language learning, and is co-editor of the journal Language & History.Richard Smith is a Reader in English Language Teaching and Applied Linguistics at the University of Warwick. Founder of the Warwick ELT Archive and the AILA Research Network on History of Language Learning and Teaching, he has been active in the fields of historical research and teacher-research in language education.

This three-volume set brings together current research in the history of language learning and teaching (HoLLT) in Europe and beyond. Providing the first overview of research in the field, it will be an indispensable reference for teachers, teacher educators and all those interested in the history of language learning and teaching and the history of applied linguistics avant la lettre.Volume I presents the history of how languages were learnt and taught across Europe, from Russia and Scandinavia to the Iberian peninsula, up to about 1800. Case studies deal with the teaching and learning of French, Italian, German and Portuguese, as well as Latin, still the first 'foreign language' for many learners in this period.Nicola McLelland is Professor of German and History of Linguistics at the University of Nottingham. She has published widely in the history of German linguistics and the history of language learning, and is co-editor of the journal Language & History.Richard Smith is a Reader in English Language Teaching and Applied Linguistics at the University of Warwick. Founder of the Warwick ELT Archive and the AILA Research Network on History of Language Learning and Teaching, he has been active in the fields of historical research and teacher-research in language education.