William Morris was among the most prescient of ecological thinkers in Victorian arts and literature and his work offers a searing appraisal of industrialism from within the context of its epochal rise. During this time Britain and its Empire saw major transformations in the natural world and in human relations to it, and living in the context of the first fully fossil-fuel-powered society, Victorian writers and artists were the first to observe the impacts of coal-fired industry and render them into art. Only a few authors, however, including Morris, channelled such observations into a full-throated critique of what was lost and diminished in the process of industrialization. This chapter draws on Mikhail Bakhtin, Amitav Ghosh, and other theorists of narrative to explore how News from Nowhere, The Wood Beyond the World, and other works by Morris draw on older literary depictions of the human place in the natural world. In the longer history of art and literature, landscape and nature were not always conceived as a mere backdrop to human drama, though this was increasingly the tendency in modern literature. Morris’s work challenged this tendency by drawing on older forms to produce an ecological vision that, paradoxically, feels remarkably timely today.

The Introduction describes the distinctive character of Old Norse-Icelandic literature, arguing that in range, quality and originality this body of literature rivals anything produced elsewhere in the Middle Ages. Highlighting the enduring importance, influence and popularity of this unique corpus of literature, it sets out the rationale for a volume providing a comprehensive account of its history and development. It then outlines the reasons for organizing the chapters of this volume primarily by the time and place of their texts’ setting, rather than any putative order of composition, in order to emphasize the fundamental intertextuality of Old Norse-Icelandic literary genres and the diversity of genre, style and worldview which these texts encompass. After this, the contents and approach of each section of the History are introduced in turn.

When we think in terms of the durability of historical texts, some works instantly come to mind: Herodotus’, Thucydides’, and Polybius’ war narratives, Edward Gibbon’s Decline and Fall of the Roman Empire, Jules Michelet’s History of France, Jacob Burckhardt’s The Civilization of the Renaissance in Italy, Johan Huizinga’s The Waning of the Middle Ages, Fernand Braudel’s Mediterranean, and Edward Thompson’s The Making of the English Working Class, among many others. Historians instantly perceive them as durable texts, part of a canon of history and historiography. I examine in this chapter the conditions that might be considered necessary for historical writing to achieve durability, justify why some historical texts have the potential for durability, propose what conditions of creation and reception enabled this longevity, and discuss what practical lessons we obtain from this inquiry. I begin making some distinctions among the three related concepts of durability, the classic, and the canon. I then try to establish the specific conditions of durability of historical texts, focusing on the concepts of Chronotope (Mikhail Bakhtin), the effect of contemporaneity (Gadamer and Koselleck), temporalization (Heidegger, Ricoeur), timelessness (Hartog), and the connections between the concepts of durability and the practical past (Oakeshott, Hayden White).

The 1860s marked a key moment in the history of extraction and the rise of extraction-based life, a social order premised on the removal of subsurface resources and, especially, on the coal economy. This decade saw the explosion of an economic discourse around coal exhaustion in Britain, thanks to the publication of William Stanley Jevons’s The Coal Question: An Inquiry Concerning the Progress of the Nation, and the Probable Exhaustion of Our Coal Mines[GK21] (1865), and the expansion of overseas imperial extraction projects following, for example, the discovery of diamonds (1867) and gold (1869) in South Africa. In this chapter, I explore the role of extraction in the 1860s’ most characteristic genre: sensation fiction. After an overview of the chronotope of exhaustion and how it manifests in fiction, I turn to two sensation novels premised on extractive plots: Mary Elizabeth Braddon’s Lady Audley’s Secret [GK22](1862) and Wilkie Collins’s The Moonstone [GK23](1868). Together they suggest the extent to which British national life was, by the 1860s, already imagined to be fully dependent on extraterritorial mineral inputs.

This chapter argues that the Linguistic Landscape (LL) brings together orientations towards past, present, and future in complex ways which distinguish it from other forms of discourse and from language in the grammatical sense. In this analysis, every unit of the LL points to a past act of a sign instigator which is viewed in the framework of present relevance but which also points toward states and actions in a relative future. This complexity determines that each unit in the LL carries its own temporal frame of reference, which may include direct reference to time, time inflections that allow for stylistic means of invoking additional notions of time, and the unit time which follows as a consequence of the unit’s physical features. From this perspective, it is argued that there is no single present in the LL, but, rather, that the LL encompasses a flow of different – sometimes contradictory – temporal references. Fieldwork examples from six countries illustrate the operation in the LL of historical ghost signage and remnants, changes in street naming policies, tourism, nostalgia and repurposing, historical commemoration, and discourse features of political graffiti.

Chapter 6 examines the force of lyric subjectivity as narrative emplotment in the Galatea. At the confluence of verse and prose, allegory and history, mimesis and poiesis, this chapter treats the Galatea and contemporary works, beginning with the 1582 transition from verse to prose in Pedro de Padilla’s Églogas pastoriles (Seville). While the Galatea has often been dismissed in scholarship as a partially formed and immature work, or reinterpreted through standard approaches to the DQ, this chapter studies the chronotopic dynamism of Cervantes’ first prose fiction through the narrative emplotment of Lauso’s lyric interior. It is attuned to the sophisticated narrative architecture of an unprecedented capacity to juggle multiple lyric temporalities within a single narrative landscape. The Galatea lent novelistic immediacy to the timeless retreat of the pastoral through the use of lyric subjectivity. As a meditation on the nature of love and lyric subjectivity inherent in Pastoral Petrarchism, in the Galatea the figura of the poet as literary character was fully developed in Lauso. As a novel in key, the Galatea not only pertained to the fábulas of Cervantes’ literary milieu, it also wove a tapestry of narrativized lyric intersubjectivity necessary to the conception of the first modern novel.

This chapter critically analyzes the work of late nineteenth-century and early twentieth-century white settler colonial writers who represented Indigenous characters and stories. It will examines how certain tropes persisted, from Rolf Boldrewood’s late romanticism to Eleanor Darks reconstructive modernism. It explores how novels by these writers manifest a contradictory set of ideas towards race and landscape, which it takes as emblematic of wider white Australian culture.

Chapter 2 is concerned with how the calendrically oriented refrain song repertoire outlined in Chapter 1 plays out in the moment of performance; namely, how singers and listeners might have understood songs and refrains as a form of religious narrative and how the refrain interacts with the experience of narrative time in performance. Chapter 2 considers the temporality of strophic Latin song itself and ways in which the refrain interacts with the linearity and circularity of poetic and musical time both separately and together. Songs that most compellingly bring together the experience of calendrical time with the musical and poetic experience of time in song are narrative works that paraphrase or retell familiar biblical and hagiographic stories, the focus of a series of case studies in Chapter 2. The case studies in this chapter These case studies, which showcase songs about the Nativity, the Resurrection, and saints’ lives (specifically those of St. Katherine and St. Nicholas), emphasize how the refrain operates within the devotional temporalities articulated in each individual work, at times interjecting or interrupting, and at other times integrating musically, poetically, and grammatically into the narrative flow.

Temporality and spatiality are important features for understanding Routine Dynamics from a process perspective. In this chapter I present Mikhail Bakhtin’s concept of the chronotope as a method for understanding how different configurations of time and space influence the (re)creation of routines. I show the overlap between Dialogism and Routine Dynamics through Bakhtin’s concept of the utterance in dialogue as being both the patterning and performing of action. I then explain the concept of the chronotope before using an empirical example to illustrate it as a tool for analysing time and space configurations, showing how they influence action patterns. I juxtapose this analysis against recent studies in Routine Dynamics that have used the role of talk to understand routine change and show what we might see differently through the lens of the chronotope.

Bakhtin's work continually develops, but on the basis of a few enduring concerns. The first of these is the belief that the fate of Europe depends on a new conception of historical life as an 'ethical reality', which is structured by the prospect of a messianic future. The second is the claim that this ethical reality depends on a crucial distinction between I and other. Finally, Bakhtin believes that this relationship is embodied in the form of literary works and their language, which transforms our everyday experience of the world into language and narrative that embodies 'historical becoming', the form history takes when it is ethical. Bakhtin's linguistic turn in the late 1920s focuses on how a new novelistic style infuses social language with this historical sense: double-voiced discourse recreates language as what Bakhtin calls 'social heteroglossia', which teems with historical becoming. But double-voiced discourse is always reliant on new kinds of narrative form, which probe and shape the'languages' of the novel. Bakhtin's work from the late 1930s onwards is a sustaned effort to describe and specify the narrative forms that convey historical becoming.

The widespread incorporation of online communicative practices in the repertoires of language users has profoundly affected the structure of communicative ecologies around the world, thus compelling us to adjust some of our core vocabulary accordingly. This chapter therefore critically reexamines one of the key notions in discourse studies: context. Treating context as inextricably connected with meaning-making has historically set discourse studies apart from more formal branches in the study of language. This, however, has not necessarily led to overly sophisticated notions of context, and the mainstream modes of usage of context in much discourse analysis can be characterized as vague and imprecise, grounded in and biased by a default image of spoken, dyadic offline (“local”) discourse events as the most natural and fundamental ones. Such views of context have been imported in studies of online communication, leading to highly questionable but influential insights such as those on “context collapse.” In this chapter, I review some of the conceptual problems related to context in online–offline communicative ecologies. I argue that, in order to avoid the bias described earlier (spoken, dyadic and offline discourse as the “zero point” of language use), we might wish to shift to taking communicative action as our unit of analysis, and address this unit in its fullest ethnographic sense as characterized by normatively circumscribed sets of resources and participants brought into specific time-space constellations enabling and constraining the deployment and uptake of specific lines of activity, leading to effects that are effects both of meaning and of moral and identity valuations. Actions are here defined as chronotopically organized and ordered, with on- and offline chronotopes having particular characteristics and interactions between such chronotopically described “contexts” involving complex shifts in resource valuation, participation frameworks and normative codes of conduct, previously described as shifts in footing. Taking this approach, I argue, enables us to avoid the spoken-dyadic-offline bias inscribed in mainstream notions of context, forcing the analyst not just to approach new online forms of interaction as “abnormal” or “exceptional” interactions, even if they are characterized by the deployment of written/designed resources and directed at “networked publics” rather than at the individual interlocutor of dyadic interaction, and even if they appear not to respect clear boundaries between the online and the offline world. The chronotopic character of contexts for communicative action enables, I suggest, a new imagination of “society” as the necessary backdrop for any consideration of discourse, its means and effects, and in that sense invites a broad range of alternative theoretical and descriptive revisions.

What underlies the English rural idyll? This chapter explores the relationship between stratigraphy, economy, and sense of place, taking as its primary focus the chalk hills of South Cambridgeshire, the ‘great croprolite boom’, and the significance of cement production. Yet in exploring the way in which social and economic change delves into geological history, it challenges chronotopes that emphasise continuity and consonance within the landscape, focussing our attention instead on temporal disjuncture, displacement, and a geology in motion.