An exploration of the practice of inventing languages, from speaking in tongues to utopian schemes of universality to the discoveries of modern linguistics. In Imaginary Languages, Marina Yaguello explores the history and practice of inventing languages, from religious speaking in tongues to politically utopian schemes of universality to the discoveries of modern linguistics. She looks for imagined languages that are autonomous systems, complete unto themselves and meant for communal use; imaginary, and therefore unlike both natural languages and historically attested languages; and products of an individual effort to lay hold of language. Inventors of languages, Yaguello writes, are madly in love: they love an object that belongs to them only to the extent that they also share it with a community. Yaguello investigates the sources of imaginary languages, in myths, dreams, and utopias. She takes readers on a tour of languages invented in literature from the sixteenth to the twentieth century, including that in More’s Utopia, Leibniz’s “algebra of thought,” and Bulwer-Lytton’s linguistic fiction. She examines the linguistic fantasies (or madness) of Georgian linguist Nikolai Marr and Swiss medium Hélène Smith; and considers the quest for the true philosophical language. Yaguello finds two abiding (and somewhat contradictory) forces: the diversity of linguistic experience, which stands opposed to unifying endeavors, and, on the other hand, features shared by all languages (natural or not) and their users, which justifies the universalist hypothesis. Recent years have seen something of a boom in invented languages, whether artificial languages meant to facilitate international communication or imagined languages constructed as part of science fiction worlds. In Imaginary Languages (an updated and expanded version of the earlier Les Fous du langage, published in English as Lunatic Lovers of Language), Yaguello shows that the invention of language is above all a passionate, dizzying labor of love.

Examines the creation of imaginary languages in history and fiction as an expression of the search for an original and primitive or universal language. The author's other works include "Les Mots et les Femmes" (1978) and "Alice au pays du Language" (1981).

Fictional languages are central to numerous creative works. This book examines such languages in a wide range of literature, films, and television shows. Included are alphabetically arranged entries on particular works. Many of these works are widely taught, such as All's Well That Ends Well, Gulliver's Travels, Nineteen Eighty-Four, and Utopia, while others are popular books, films, and television series, such as Buffy the Vampire Slayer, Cat's Cradle, The Lord of the Rings, and Star Wars. Thus the encyclopedia helps students understand texts central to the curriculum and popular culture. Each entry discusses the role of imaginary languages in a particular work. Entries range from antiquity to the present and close with suggestions for further reading. The encyclopedia ends with a selected bibliography and includes various helpful finding aids.

"A work that is as disturbing as it is empathetic, as beautiful as it is riveting." —Eimear McBride, New Statesman In the aftermath of the Norman Invasion of 1066, William the Conqueror was uncompromising and brutal. English society was broken apart, its systems turned on their head. What is little known is that a fractured network of guerrilla fighters took up arms against the French occupiers. In The Wake, a postapocalyptic novel set a thousand years in the past, Paul Kingsnorth brings this dire scenario back to us through the eyes of the unforgettable Buccmaster, a proud landowner bearing witness to the end of his world. Accompanied by a band of like-minded men, Buccmaster is determined to seek revenge on the invaders. But as the men travel across the scorched English landscape, Buccmaster becomes increasingly unhinged by the immensity of his loss, and their path forward becomes increasingly unclear. Written in what the author describes as "a shadow tongue"—a version of Old English updated so as to be understandable to the modern reader—The Wake renders the inner life of an Anglo-Saxon man with an accuracy and immediacy rare in historical fiction. To enter Buccmaster's world is to feel powerfully the sheer strangeness of the past. A tale of lost gods and haunted visions, The Wake is both a sensational, gripping story and a major literary achievement.

Mark J.P. Wolf’s study of imaginary worlds theorizes world-building within and across media, including literature, comics, film, radio, television, board games, video games, the Internet, and more. Building Imaginary Worlds departs from prior approaches to imaginary worlds that focused mainly on narrative, medium, or genre, and instead considers imaginary worlds as dynamic entities in and of themselves. Wolf argues that imaginary worlds—which are often transnarrative, transmedial, and transauthorial in nature—are compelling objects of inquiry for Media Studies. Chapters touch on: a theoretical analysis of how world-building extends beyond storytelling, the engagement of the audience, and the way worlds are conceptualized and experienced a history of imaginary worlds that follows their development over three millennia from the fictional islands of Homer’s Odyssey to the present internarrative theory examining how narratives set in the same world can interact and relate to one another an examination of transmedial growth and adaptation, and what happens when worlds make the jump between media an analysis of the transauthorial nature of imaginary worlds, the resulting concentric circles of authorship, and related topics of canonicity, participatory worlds, and subcreation’s relationship with divine Creation Building Imaginary Worlds also provides the scholar of imaginary worlds with a glossary of terms and a detailed timeline that spans three millennia and more than 1,400 imaginary worlds, listing their names, creators, and the works in which they first appeared.

This companion provides a definitive and cutting-edge guide to the study of imaginary and virtual worlds across a range of media, including literature, television, film, and games. From the Star Trek universe, Thomas More’s classic Utopia, and J. R. R. Tolkien’s Arda, to elaborate, user-created game worlds like Minecraft, contributors present interdisciplinary perspectives on authorship, world structure/design, and narrative. The Routledge Companion to Imaginary Worlds offers new approaches to imaginary worlds as an art form and cultural phenomenon, explorations of the technical and creative dimensions of world-building, and studies of specific worlds and worldbuilders.