<?xml version="1.0" encoding="utf-8" standalone="yes"?><rss version="2.0" xmlns:atom="http://www.w3.org/2005/Atom"><channel><title>Esellers on Journal of Digital Humanities</title><link>https://journalofdigitalhumanities.org/author/esellers/</link><description>Recent content in Esellers on Journal of Digital Humanities</description><generator>Hugo</generator><language>en-US</language><lastBuildDate>Thu, 01 Mar 2012 00:00:00 +0000</lastBuildDate><atom:link href="https://journalofdigitalhumanities.org/author/esellers/index.xml" rel="self" type="application/rss+xml"/><item><title>The Emergence of Literary Diction</title><link>https://journalofdigitalhumanities.org/1-2/the-emergence-of-literary-diction-by-ted-underwood-and-jordan-sellers/</link><pubDate>Thu, 01 Mar 2012 00:00:00 +0000</pubDate><guid>https://journalofdigitalhumanities.org/1-2/the-emergence-of-literary-diction-by-ted-underwood-and-jordan-sellers/</guid><description>&lt;p&gt;Literary criticism used to be, in great part, an attempt to define the distinctive character of “literary language.” The project preoccupied Russian Formalists and American New Critics, and dates back to the nineteenth century. In recent years, critics have largely abandoned the attempt to define literary language, since it is now clear that the category of literature itself is historically unstable. But if we could trace the transformation of literary language in a detailed way, this instability might become interesting: we could use the changing characteristics that have marked language as literary to illuminate the transformation of literature as a social category.&lt;/p&gt;</description></item></channel></rss>