Litteraturstudier: fra 1800 til 1900

Dette er en dansk litteraturhistorie, men det særlige er, at den ser sit emne fra så højt et fugleperspektiv, at detaljerne forsvinder og hovedkonturen - hovedsporet - træder frem. I én bog på 700 sider når vi fra Vølvens spådom og de islandske sagaer over Kingo, Holberg, Oehlenschläger og Hauch til Brandes, Blixen, Brøgger og Guldager. Arbejdsgruppen bag Hovedsporet - Jens Anker Jørgensen, Johnny Kondrup, Peter Olivarius, Bjarne Sandstrøm, Svend Skriver, Marianne Stidsen og Knud Wentzel - har skåret en principielt grænseløs historie ned til en stor, spændende fortælling om dansk litteratur.Denne e-bogsudgave er uden illustrationer.

Velkommen i en hvirvlende voksenleg, hvor vi løfter sløret for H.C. Andersens kvindeverden og titter ind under skørterne på fem frække, iderige og ekstravagante prinsesser.”Duer ikke, væk!” er de berømte ord fra prinsessen i eventyret om Klods-Hans og en frase, som millionvis af verdens kvinder ærgrer sig over ikke at have været i besiddelse af på det rette tidspunkt.Men bag prinsesserne anes konturerne af H.C. Andersens antiprinsesser: hans søster, hans moster, hans mormor og hans mor, som gennem prostitution, alkoholisme, kriminalitet og tvangsarbejde bevæger sig lydløse rundt i Andersens univers. Og som i et spejl fornemmes hans kærester, forelskelser og intervention i pigers og drenges, mænds og kvinders følelsesverdener. I spejlbilledet ledes vi mod PRINSESSETESTEN. Her bringes de rapkæftede og frække prinsessesider sammen med spørgsmål om familie, troskab, eventyrlyst og livsduelighed, og læseren må inddrage sig selv og tage en test.

Der vorliegende Band präsentiert die Ergebnisse der Abschlusstagung ,Von Neuem', die die DFG-Forschungsgruppe 2305 ,Diskursivierungen von Neuem. Tradition und Novation in Texten und Bildern des Mittelalters und der Frühen Neuzeit' im Juni 2022 an der Freien Universität abgehalten hat. Die Gruppe hat seit 2016 Artefakte innerhalb der genannten Epochengrenzen auf das komplexe Verhältnis hin untersucht, das ,alte' und ,neue' Elemente und Dimensionen in ihnen einnehmen, und in einer dynamischen Relation solcher Elemente die Spezifik literarischer und künstlerischer Praxis und Produktion ausgemacht. Zur Abschlusstagung waren ausgewiesene Expert:innen aus der germanistischen Mediävistik und Frühneuzeitforschung, aus der Romanistik, der Neueren Geschichte und Kunstgeschichte eingeladen, einschlägige Forschungsfragen ,von Neuem' zu debattieren und eigene Perspektiven aus aktueller Arbeit einzubringen. Der Band bietet ein breites Panorama grundlegender Untersuchungen zu literarischen, philosophischen und bildkünstlerischen Novationsdynamiken zwischen dem 13. und dem 18. Jahrhundert.

Romantik und Realismus werden in der Literaturgeschichtsschreibung vorwiegend als Gegensätze beschrieben. Ihre Rekonstruktion als dichotome Epochen verstellt aber den Blick auf die Kontinuitäten zwischen den beiden großen Literaturbewegungen des 19. Jahrhunderts, auf ihre gemeinsamen Problemfelder und Strategien zur Problembewältigung. Denn weshalb beziehen sich Texte in der zweiten Hälfte des 19. Jahrhunderts permanent auf eine Literatur, die sie als ¿Romantik¿ kennzeichnen und aus der Welt schaffen wollen? Weshalb bearbeiten Texte, die als ¿realistische¿ positioniert werden, über einen Zeitraum von immerhin gut 50 Jahren Konzepte und Themenkomplexe, die erkennbar ihren Anfang in der von ihnen abgelehnten und als obsolet konzipierten Romantik nehmen? Weshalb lassen sie fortwährend romantische Figuren auftreten oder romantische Motive handlungsleitend ein? Ganz offenbar handelt es sich beim Romantischen, das der Realismus bestreitet, um einen unerledigten Problemkomplex. Ausgehend vondiesen Beobachtungen stellt sich das Verhältnis von romantischer und realistischer Literatur weniger als epochale Dichotomie, sondern vielmehr als konstitutives Wechselverhältnis dar ¿ als komplementäre Konstellation vor einem gemeinsamen Problemhorizont. Romantische und realistische Literatur lassen sich als alternative und gleichwohl parallele Strategien im Umgang mit historischen Transformationsprozessen auffassen, die ungeachtet ihrer markierten Konkurrenz kaum jemals ungemischt zur Anwendung kommen. Romantische und realistische Tendenzen treten in wechselseitiger Abhängigkeit auf. Dabei geht es sowohl den programmatisch romantisierenden als auch den programmatisch realistischen Texten um nicht weniger als die Gestaltung gesellschaftlicher Realität. Auf der Grundlage einer anderen Begründungsgeschichte der deutschsprachigen Literatur im 19. Jahrhundert lassen sich Beschreibungsmodelle für kulturelle Identifikations- und Transformationsprozesse gewinnen. Die untersuchten literarischen Texte formulieren ebenso Konzepte für den Umgang mit kulturellem Wandel wie sie Konstellationen kulturellen Wandels als Positionskämpfe zwischen romantischen und realistischen Akteuren konfigurieren.

Neo-Victorian Young Adult Narratives examines the neo-Victorian themes and motifs currently appearing in young adult fiction¿specifically addressing the themes of authorship, sexuality, and criminality in the context of the Victorian age in British and American cultures. This book explicates the complicated relationship between the Victorian past and the turn to Victorian modes of thought on literature, history, and morality. Additionally, Sarah E. Maier aims to determine if the appeal of neo-Victorian young adult fiction rests in or resists nostalgia, parody, and revision. Given the overwhelming prevalence of the Victorian in the young adult genres of biofiction, juvenile writings, gothic, sensation, mystery, and crime fiction, there is much to investigate in terms of the friction between the past and the present.

Offers a new, Spinozist framework for understanding encounters with otherness in Romantic literature as experiences of immanence.

Shows how nineteenth-century discoveries in acoustical science shaped Victorian literary representations of gender, sexuality, and intimacy.

This book provides a wealth of fascinating information about many significant and lesser-known nineteenth-century Christian authors, mostly women, who were motivated to write material specifically for children¿s spiritual edification because of their personal faith. It explores three prevalent theological and controversial doctrines of the period, namely Soteriology, Biblical Authority and Eschatology, in relation to children¿s specifically engendered Christian literature. It traces the ecclesiastical networks and affiliations across the theological spectrum of Evangelical authors, publishers, theologians, clergy and scholars of the period. An unprecedented deluge of Evangelical literature was produced for millions of Sunday School children in the nineteenth century, resulting in one of its most prolific and profitable forms of publishing. It expanded into a vast industry whose magnitude, scope and scale is discussed throughout this book. Rather than dismissing Evangelical children¿s literature as simplistic, formulaic, moral didacticism, this book argues that, in attempting to convert the mass reading public, nineteenth-century authors and publishers developed a complex, highly competitive genre of children¿s literature to promote their particular theologies, faith and churchmanships, and to ultimately save the nation.

This book shows how in nineteenth-century Britain, confronted with the newly industrialized and urbanized modern world, writers, artists, journalists and impresarios tried to gain an overview of contemporary history. They drew on two successive but competing conceptual models of overview: the panorama and the compilation. Both models claimed to offer a holistic picture of the present moment, but took very different approaches. This book shows that panoramas (360° views previously associated with the Romantic period) and compilations (big data projects previously associated with the Victorian fin de siècle) are intertwined, relevant across the entire century, and often remediated, making them crucial lenses through which to view a broad range of genre and forms. It brings together interdisciplinary research materials belonging to different period silos to create new understandings of how nineteenth-century audiences dealt with information overload. It argues for a new politics of distance: one that recognizes the value of immersing oneself in a situation, event or phenomenon, but which also does not chastise us for trying to see the big picture. This book is essential reading for students and scholars of nineteenth-century literature, history, visual culture and information studies.

This book analyses the evolution of literary and artistic representations of the soul, exploring its development through different time periods. The volume combines literary, aesthetic, ethical, and political considerations of the soul in texts and works of art from the seventeenth to the twenty-first centuries, spanning cultures and schools of thought. Drawing on philosophical, religious and psychological theories of the soul, it emphasizes the far-reaching and enduring epistemological function of the concept in literature, art and politics. The authors argue that the concept of the soul has shaped the understanding of human life and persistently irrigated cultural productions. They show how the concept of soul was explored and redefined by writers and artists, remaining relevant even as it became removed from its ancient or Christian origins.

The book contains contributions on the significance of German culture for Romanian art, language, and literature. Not only will the direct influence of German role models on Romanian culture be discussed, but it will also show how this influence set in motion a whole series of socio-cultural and artistic shifts that allowed Romanian culture to better understand its position in the European world.Das Buch enthält Beiträge zur Bedeutung der deutschen Kultur für die rumänische Kunst, Sprache und Literatur. Erörtert wird nicht nur der direkte Einfluss deutscher Vorbilder auf die rumänische Kultur, sondern es wird auch aufgezeigt, wie dieser Einfluss eine ganze Reihe soziokultureller und künstlerischer Veränderungen in Gang gesetzt hat, die der rumänischen Kultur ermöglichten, ihren Platz in der europäischen Welt besser zu verstehen.

This book considers Samuel Taylor Coleridge¿s engagement with ¿Whig poetry¿: a tradition of verse from the eighteenth century which celebrated the political and constitutional arrangements of Britain as guaranteeing liberty. It argues that, during the 1790s, Coleridge was able to articulate radical ideas under the cover of widely accepted principles through his references to this poetry. He positioned his poetry within a mainstream discourse, even as he favoured radical social change. Jacob Lloyd argues that the poets Mark Akenside, William Lisle Bowles, and William Cowper each provided Coleridge with a kind of Whig poetics to which he responded. When these references are understood, much of Coleridge¿s work which seems purely personal or imaginative gains a political dimension. In addition, Lloyd reassess Coleridge¿s relationship with Thomas Percy¿s Reliques of Ancient English Poetry, to provide an original, political reading of ¿The Rime of the Ancyent Marinere¿. This book revises our understanding of the political and poetic development of a major poet and, in doing so, provides a new model for the origins of British Romanticism more broadly

This book develops our understanding of the global literary field in the long nineteenth century by discussing nine different places outside the established metropoles. It shows how different economic, geographical and political factors combined to give each place its own distinctive literary culture and symbolic capital. Taking a geocritical approach, the book shows how its different case studies can be seen as ¿literary capitals¿ in terms of their role within the wider nation, region or empire. The volume is divided into three parts. Part One discusses Kolkata, Hong Kong and Buenos Aires. Part Two considers ¿semi-peripheral¿ European cities: Pest-Buda (Budapest), Helsinki and Dublin. Part Three focuses on cities within Italy: Trieste, Florence and Rome. Drawing on a wide range of literary texts and different genres, the book reads the nineteenth-century literary field as a constellation where different connections can be plotted across various points on the map at different times.

This book compares the Victorian British poet Robert Browning and the twentieth-century Ghanaian poet and novelist Kojo Laing¿two writers whose texts frequently foreground multi-scalar transregional cartographies, points of connection and translation, and imaginative kinships between different linguistic and cultural communities. Starting from the numerous and surprising points of connection and resemblance between both authors¿ texts, this book puts pressure on critical practices that would keep writers like Laing and Browning separate, positing instead the importance of paying attention to the transnational, cross-cultural, and cross-temporal imaginative relationships texts themselves generate. By comparing two writers whose texts represent different points of view on a number of shared and congruent contexts, this book seeks an original way of understanding the relationship between texts and (post-) colonial contexts, texts and other texts. Browning¿s and Laing¿s shared tendencyto foreground trans- and post-national cartographies of relation and difference, and their similarly translational aesthetics, both demand a probing of the disciplinary separation between ¿English Literature¿ and ¿Comparative Literature¿, as well as ¿literature¿ and ¿comparison¿, and a fresh awareness of the ways in which literature itself makes comparisons and affiliations. It also involves a version of ¿world literature¿ intent on accentuating the relational worlds (linguistic, imaginative, ethical) that texts themselves generate; a criticism sensitive to the ways in which writers from different times and places can still be seen to overlap.

Brings together and makes available in English for the first time some of Ángel Rama's most important essays.

Questo volume si propone di aggiornare la mappa della produzioneletteraria ottocentesca di argomento filellenico, stabilendo un confrontocon autori la cui opera non è stata ancora sufficientemente studiatada tale prospettiva. Partendo da una necessaria contestualizzazionestorico-culturale, i saggi raccolti sottopongono ad esame segmentispecifici dell¿attività letteraria di Vincenzo Monti, Andrea Mustoxidi,Ugo Foscolo, Cristina di Belgiojoso, Giuseppe Pecchio e Vito DomenicoPalumbo, letterati ottocenteschi che s¿ispirano in modi differenti agliavvenimenti della rivoluzione greca del 1821. Lo scopo generale è diapprofondire la conoscenza di una stagione particolarmente prolificadella storia letteraria italiana, fornendo una nuova chiave di lettura deldenso clima d¿interscambio venutosi a creare tra Italia e Grecia nelcorso del XIX secolo.Nove sono i contributi che compongono il libro. L¿intreccio coerenteche ne risulta di ragguagli storici, prospettive d¿insieme e affondiparticolareggiati sui principali alfieri del filellenismo italiano conferiscea questa silloge una compattezza tale da distinguerla da altre piùeterogenee proposte sul medesimo argomento.

This interdisciplinary collection of essays explores the life and work of Charlotte M. Yonge, a highly influential and popular nineteenth-century writer who is emerging from a long period of critical neglect. Its wide-ranging chapters capture the scope and quality of current work in Yonge studies, addressing the full range of her prolific literary output from her best-selling novels to her nature writing, biographies, and letters. Considering themes from gender, disability, and empire, to Tractarianism, secularism, and the idea of progress, these essays consider how Yonge reflected and shaped the tastes, ideas and anxieties of her readers and contemporaries. Exploring her key role in the Anglican revival, her importance as a test case in the development of feminist criticism, and her formal innovativeness as a novelist, this collection places Yonge centrally in the nineteenth-century literary landscape and demonstrates her ongoing relevance to scholars and students of the period.

Pflanzen sind bei Büchner von Beginn seines Schreibens an Thema und tauchen in bemerkenswerter Diversität und Fülle über das Werk verstreut auf. Vor dem Hintergrund der botanischen Forschung, der Stubengärtnerei und der Agrarwissenschaften sowie im Horizont der aktuellen Forschungsdynamik in den Plant Studies nehmen die Beiträge pflanzlich versierte Re-Lektüren der Texte Büchners vor und reflektieren dabei die Bedingungen und Konsequenzen der literatur- und kulturwissenschaftlichen Pflanzenforschung.

Alexander von Humboldts Essay über Kuba, der auf Französisch verfasste ¿Essai politique sur l¿île de Cubä (1825-1826), beschreibt und vermisst die Insel sehr genau, weshalb der Verfasser in Lateinamerika als ¿zweiter Kolumbus¿ angesehen wurde. Er war zugleich sein umstrittenstes Werk, da Humboldt in ihm vehement die Sklaverei verurteilte. Dies wurde zum Tagesgespräch, als sich Humboldt selbst in amerikanischen Zeitungen gegen eine englische Übersetzung wehrte, die das Sklaverei-Kapitel weggelassen und die abolitionistische Haltung des Werks umgefälscht hatte. Obwohl Humboldt im frühen 20. Jahrhundert in Kuba gerne gefeiert wurde, hatten hundert Jahre zuvor die kubanischen Kolonialregierungen die erste spanische Übersetzung des Essai kurzerhand verboten. In diesem öffentlichen Bekenntnis lag damals und liegt heute noch die Bedeutung dieses höchst kontroversen Textes, in dem Humboldts Anspruch auf eine weltweite Konvivenz, auf ein friedliches Zusammenleben aller Völker und Ethnien deutlich wird. Die zweibändige französische Referenzausgabe ist bis heute nicht komplett übersetzt worden. Eine deutschsprachige Fassung von 2002, die einzige neuere deutsche Übersetzung, kürzt Humboldts Text und verändert ihn auch anderweitig. Das vorliegende Vorhaben beabsichtigt, diese deutliche Lücke mit einer wissenschaftlich fundierten Übersetzung von Humboldts revidierter Ausgabe aus dem Jahr 1826 zu schließen.

This book explores how two early modern and two modern Japanese writers - Yosa Buson (1716-83), Ema Saiko (1787-1861), Masaoka Shiki (1867-1902), and Natsume Soseki (1867-1916) - experimented with the poetic artifice afforded by the East Asian literati (bunjin) tradition, a repertoire of Chinese and Japanese poetry and painting. Their experiments generated a poetics of irony that transformed the lineaments of lyric expression in literati culture and advanced the emergence of modern prose poetry in Japanese literature. Through rigorous close readings, this study changes our understanding of the relationship between lyric form and the representation of self, sense, and feeling in Japanese poetic writing from the late eighteenth through the early twentieth century. The book aims to reach a broad audience, including specialists in East Asian Studies, Anglophone literary studies, and Comparative Literature. 

This book is a study of how transfictional and transmedia storytelling emerges in the nineteenth century and how the period's receptive practices anticipate the receptive practices of fandom and transmedia storytelling franchises in the twentieth and twenty-first centuries. The central claim  is that the serialized, periodical, and dramatic media environment of the late eighteenth century through the nineteenth century in Great Britain trained audiences to perceive the continuous identity of characters and worlds across disparate texts, illustrations, plays, and songs by creators other than the earliest originating author. The book contributes to fan studies, transmedia studies, and nineteenth-century periodical studies while also interrogating the nature of fictional character.