Litteraturstudier: fra 1900 til 2000

This book analyzes the various ways of coming to terms with the Emmett Till case in US fiction. The 1955 lynching of the fourteen-year-old black youth in the Mississippi Delta raised a cultural trauma in the US collective imaginary that particularly pierced the African American community, later resulting in a recurrent motif that this monograph conceptualizes as the Emmett Till trauma. This motif has historically permeated the whole spectrum of US society, springing up in manifold ways and artistic manifestations, but why does it continue to reverberate with such prominence nowadays? And which strategies have the different communities been adopting to cope with it over the years? This book seeks in literature the answers to these central questions, as it analyzes the ways in which several social groups come to terms with the Till trauma, focusing on the three major novels inspired by the tragic incident: Bebe Moore Campbell¿s Your Blues Ain¿t Like Mine (1992), Lewis Nordan¿s Wolf Whistle (1993), and Bernice L. McFadden¿s Gathering of Waters (2012). The critical analysis of these three novels is imbued with a theoretical framework mainly based on trauma theory but also influenced by spectrality studies and black studies. Such a theoretical framework allows exploration of the hidden intricacies of the Till case and its traumatic impact on the broader US society, with special emphasis on its aftereffects within the African American community, in the first single-authored monograph on the infamous lynching in literature."Carefully theorized and persuasively argued, this study is the most comprehensive account we have of the haunting presence of Emmett Till in the American literary imagination. Attuned to hidden intricacies, Martín Fernández Fernández makes a convincing case that fiction provides us with the expansive space we need to work through historical trauma, enabling us to mourn properly across generations while at the same time exploring opportunities for progress and healing. Anyone interested in this lynching, and the vast literary response it has inspired, would do well to give this study the close attention it deserves."¿Chris Metress, Professor at Samford University; Author of The Lynching of Emmett Till: A Documentary Narrative"This book successfully links the events of the Emmett Till case to recent historical episodes and the Black Lives Matter movement triggered by them. It is a thoroughly documented study that manages to present in a straightforward and accessible manner the historical and mythical significance of a case that still today haunts the US collective memory. The overwhelming evidence, the soundness of the argumentation, and the clarity and accessibility of the writing make of this monograph a valuable addition to our understanding of the African American experience, as well as the complex texture of the US as a nation."¿Manuel Broncano, Professor of American Literature, Texas A&M International University"Martín Fernández Fernández locates the forever wound of black child murder in the crevices of Americäs racial fault lines in his study The Emmett Till Trauma in US Fiction. More than just a recounting of the gruesome killing of fourteen-year-old Emmett Till, Fernández Fernández¿s thoughtful study traces the ways Till¿s murder has been memorialized in speculative fiction. Mythology, magical realism, and creative license provide ready avenues for the explorations of familial retribution, spiritual redemption, and communal healing in the bloodlines of both impacted families in the Till saga."¿Carol E. Henderson, Vice Provost for Diversity and Inclusion, Chief Diversity Officer, Emory University; Professor Emerita, English, Africana Studies, University of Delaware

Ricardo Piglias Kriminalromane haben das Genre kritisch beleuchtet und erneuert. Die Untersuchung kapitalismus- und erkenntniskritischer Perspektiven in Plata quemada, Blanco nocturno und El camino de Ida verbindet literaturtheoretische mit -historischen Reflexionen. Ausgehend von der These, dass die bürgerlich-kapitalistische Gesellschaft sowie Diskurse um Aufklärung und Positivismus zentrale Entstehungsbedingungen des Kriminalromans sind, wird nach den Möglichkeiten und Grenzen ihrer Kritik sowie einer dem Genre inhärenten Dialektik gefragt. Mithilfe marxistischer und poststrukturalistischer Ansätze werden Piglias Romane vor dem Hintergrund des argentinischen Kontexts als postmoderne littérature engagée analysiert.Die Arbeit wurde 2023 mit dem Elise Richter-Preis des Deutschen Romanistenverbands ausgezeichnet.

This open access book examines how the form of the list features as a tool for meaning-making in the genre of detective fiction from the nineteenth to the twenty-first century. The book analyzes how both readers and detectives rely on listing as an ordering and structuring tool, and highlights the crucial role that lists assume in the reading process. It extends the boundaries of an emerging field dedicated to the study of lists in literature and caters to a newly revived interest in form and New Formalist approaches in narratological research. The central aim of this book is to show how detective fiction makes use of lists in order to frame various conceptions of knowledge. The frames created by these lists are crucial to decoding the texts, and they can be used to demonstrate how readers can be engaged in the act of detection or manipulated into accepting certain propositions in the text.

This volume brings together a group of most highly acclaimed Canadian writers and distinguished international experts on Canadian literature to discuss what potential Janice Kulyk Keefer's concept of "historiographic ethnofiction" has for ethnic writing in Canada. The collection builds upon Kulyk Keefer's idea but also moves beyond it by discussing such realms of the concept as its ethics and aesthetics, multiple and multilayered sites, generic intersections, and diasporic (con-)texts. Thus, focusing on Canadian historiographic ethnofiction, "Land Deep in Time" is the first study to define and explore a type of writing which maintains a marked presence in Canadian literature but has not yet been recognized as a separately identifiable genre.

Vision, Technology and Subjectivity in Mexican Cyberpunk Literature interrogates an array of cyberpunk and post-cyberpunk science fiction novels and short stories from Mexico whose themes engage directly with visual technologies and the subjectivities they help produce ¿ all published during and influenced by the country¿s neoliberal era. This book argues that television, computers, and smartphones and the literary narratives that treat them all correspond to separate-yet-overlapping scopic regimes within the country today. Amidst the shifts occurring in the country¿s field of vision during this period, the authors of these cyberpunk and post-cyberpunk narratives imagine how these devices contribute to producing specular subjects¿or subjects who are constituted in large measure by their use and interaction with visual technologies. In doing so, they repeatedly recur to the posthuman figure of the cyborg in order to articulate these changes; Stephen C. Tobin therefore contends that the literary cyborg becomes a discursive site for working through the problematics of sight in Mexico during the globalized era. In all, these ¿specular fictions¿ represent an exceptional tendency within literary expression¿especially within the cyberpunk genre¿that grapples with themes and issues regarding the nature of vision being increasingly mediated by technology.

This book offers an entry point for understanding the comprehensive way this uniquely American artistic form has influenced literature, art, film, and other art forms, while also providing a cultural space for political commentary or social critique.

"Die Welt steht auf kein' Fall mehr lang", singt der Schuster Knieriem in Nestroys Stück Lumpazivagabundus (1833) und Karl Kraus bezeichnete Österreich einmal als "Versuchsstation des Weltuntergangs". Dystopien, aber umgekehrt auch Utopien durchziehen die österreichische, wie die europäische Literatur. In einer Reihe von Beiträgen werden in dem Band solche Krisen-, aber auch Hoffnungsphänomene vom 18. bis zum 21. Jahrhundert nachgezeichnet. Dabei entsteht das Bild einer von Utopien und Dystopien gekennzeichneten Literatur der Moderne und Postmoderne. Utopien, seit Thomas Morus' Utopia (1516), sind vor allem als Staatsutopien weit verbreitet und entwickeln Alternativmodelle zu gegenwärtigen Staatsgebilden. Für sie alle gilt, dass sie ohne "Möglichkeitssinn" (Robert Musil) und "Möglichkeitsdenken" (Wilhelm Voßkamp) nicht konzipiert werden hätten können. Dystopien beschreiben oft futuristische Weltuntergangsszenarien, die sich aufgrund der multiplen Krisen nicht zuletzt seit der Jahrtausendwende einer großen Beliebtheit erfreuen. Bemerkenswerterweise ziehen Leser/-innen, wie Thomas Macho bemerkt hat, aus Untergangsszenarien mehr subjektiven Lustgewinn als aus utopischen Konstruktionen. In Beiträgen zu Marie von Ebner-Eschenbach, Johann Nestroy, Arthur Schnitzler, Ödön von Horváth, Alfred Kubin, Thomas Bernhard, Péter Nádas, Fedor Ivanovic Panferov und Elfriede Jelinek u.a. wird den titelgebenden thematischen Konzepten nachgegangen. Der Band richtet sich an Literaturwissenschaftler/-innen, aber auch an nichtgermanistische Leser/-innen, die Interesse an den Phänomenen von Utopie und Dystopie in der österreichischen und europäischen Literatur haben.

Der vorliegende Band umfasst literaturwissenschaftliche Aufsätze zu Texten der (postkolonialen) deutschsprachigen Gegenwartsliteratur sowie theoretisch angelegte Beiträge zu Gewalt und Erinnerungsdiskursen. Aus interkulturellen, postkolonialen und didaktischen Blickpunkten heraus werden neue, sich für die postkoloniale Germanistik eröffnende Reflexionsfelder, Möglichkeiten und Perspektiven in einem Zeitalter globaler Krisen herausgestellt.

This book explores how Canada is imagined primarily by US writers, and what readers and scholars on both sides of the Canada-US border can learn from these recent depictions by examining a selection of US-authored fiction from 9/11 to the present. The novels ¿ and occasionally paintings, films, and musicals ¿ that are the subject of the book provide a deliberately varied set of case studies to probe how US texts, along with works of art produced on both sides of the Canada-US border, uncover moments in Canadian historical and literary studies that have been buried or occluded to protect Canada's self-representation as an exceptional nation.

Examines literary depictions of "mannish" pregnant women and metaphors of male pregnancy to reframe the relationship between creativity and gender in modernism.

[headline]Contends that the twentieth century novel's approach to character fundamentally shifted in response to contemporaneous theories of psychic connection Criticism of the novel routinely starts with the assumption that characters must think, develop and strive for self-fulfilment as individuals. This book challenges the paradigm that individualism is innate to the novel as a medium. It describes how major writers throughout the twentieth century - many convinced by the supposed findings of parapsychology - rejected the idea of the discrete character. Treating the self as porous, they offered novels structured around the development of communities and ideas rather than individuals. By focusing on D. H. Lawrence, Olaf Stapledon, Aldous Huxley and Doris Lessing, Mark Taylor demonstrates the need to broaden our approach to character when addressing the novel of the twentieth century and beyond. [bio]Mark Taylor is a specialist in twentieth century British literature and most recently worked as Assistant Professor in English Literature at HSE University, Moscow. His work has been published in Modern Fiction Studies, Mosaic and Science Fiction Studies.

[headline]Develops a new theory of literary imagination for the Anthropocene by analysing descriptions of the environment from above Readers encounter the environment through literature in ways not available to everyday perception. This is especially clear when a text integrates the grand vistas of what is known as the bird's-eye view. In this welcome contribution to the contemporary theoretical discussion about storied environments and non-human perceptions, David Rodriguez presents an original interpretation of the aesthetics of the view from above. Focusing on fiction by twentieth-century American writers including Willa Cather, Paul Bowles and Don DeLillo, Rodriguez skilfully combines ecocriticism, narrative theory and phenomenological approaches to literature to develop the term 'form of environment'. This theory of literary fiction foregrounds the environment not as setting or historical context, but as an equal agent with the human figures and scales that are normally the focus of literary analysis. [bio]David Rodriguez is Adjunct Assistant Professor of English at Hofstra University in New York. His previous publications include Narrating Nonhuman Spaces: Form, Story, and Experience Beyond Anthropocentrism (co-edited with Marco Caracciolo and Marlene Marcussen, 2021).

Explores Derick Thomson's far-reaching influence on the 20th-century revival of Scottish Gaelic Derick Thomson and the Gaelic Revival focuses in expert detail on the 'other' great 20th-century Scottish Gaelic poet and intellectual. Derick Thomson's poetry ranks with Sorley MacLean's as among the best in the Gaelic language, and he contributed to the preservation and development of the language as an editor, journalist, scholar and activist. As well as founding and steering the most important modern Gaelic magazine, Gairm, he instigated a number of ventures aimed at promoting Gaelic and had major impact on Gaelic studies as an academic subject. His vision of the Gaelic revival is characterised by high aesthetic standards, organisational and economic shrewdness, openness to second-language users, support for Scottish political independence and a broad European outlook. The very first book-length study devoted to Thomson, this monograph explores his career within the context of the Gaelic revival in Scotland and other minoritised-language movements in Europe and examines his thoughts on the current and future state of the language as articulated in essays, articles, poems and short fiction. Key features and benefits  Based on previously untranslated sources  Introduces the scholar and activist who was the driving force behind influential initiatives aimed at promoting Gaelic  Offers a fresh European perspective on the subject, from an author with a command of Gaelic who is herself not Scottish  Incorporates a multifaceted approach that brings together Derick Thomson's cultural and political activism, poetry and scholarship  Examines Thomson's engagement with other countries, especially Ireland and Wales, and with other figures, including Alexander MacDonald (Alasdair Mac Mhaighstir Alasdair), James Macpherson and Ruaraidh Erskine of Mar  Written with regard to international audiences and relevant for both Gaelic speakers and readers without a command of Gaelic  Enables the incorporation of modern Gaelic writing into comparative literature in Europe Petra Johana Poncarová is based at Charles University in Prague, Czech Republic. She translates from Gaelic into Czech and her award-winning Czech edition of Tormod Caimbeul's Deireadh an Fhoghair is the first complete translation of the iconic novel into any language.

[headline]This field-defining collection maps key intersections between sound studies and literary studies Collections on sound studies have seldom explored the vexed relationship between literature - a medium largely defined by its silence - and the dynamics and technologies of sound. This Companion is designed to help sound studies scholars grapple with the auditory capacities of text and encourage literary scholars to take full cognisance of the rich soundscapes mapped, or created, by texts read quietly. The essays assembled here consider a broad range of sound studies topics, including music in writing; the inscription of listening; worlding through sound; military and industrial noise; the gender of sound; racialised soundscapes; theatrical sounds; literature and sound media; and sonic epistemology. Helen Groth and Julian Murphet present a comprehensive set of new research on the relationship between sound and writing over time from a range of eminent, established and emerging sound studies scholars. [bios]Helen Groth is Professor of English in the School of Arts and Media, University of New South Wales. She is the author of Victorian Photography and Literary Nostalgia (2004) and Moving Images: Nineteenth-Century Reading and Screen Practices (2013), co-author of Dreams and Modernity: A Cultural History (2013) and co-editor of the forthcoming collection Writing the Global Riot: Literature in a Time of Crisis (2023). Julian Murphet is Jury Professor of English Language and Literature at the University of Adelaide. He is the author of the forthcoming Modern Character: 1888-1905 (2023) and Prison Writing in the Twentieth Century: A Literary Guide (Edinburgh University Press, 2023).

Ließ Brechts zum Diktum gewordenes Versfragment «Gespräch über Bäume» die Naturlyrik zum fragwürdigen Genre werden, so rief es gleichwohl bald Widerspruch hervor, nicht nur in Paul Celans lyrischer Replik «Ein Blatt, baumlos» und den ebenfalls auf Brecht antwortenden Gedichten Erich Frieds und Günter Eichs, sondern auch in der engagierten ökokritischen Dichtung seit den 1970er Jahren. Während das «Gespräch über Bäume» vor allem auf Natur und Landschaft als Gegenstand und Thema von Dichtung bezogen ist, fragt dieser Sammelband, wie das gegenwärtige Interesse an der Natur mit Formfragen und deren poetologischen Reflexionen in der deutschsprachigen Lyrik seit den 1990er Jahren einhergeht. Wie verbinden sich diese Formfragen und ihre poetologischen Reflexionen in der Gegenwart mit einem diachron weitgefassten Blick auf Ornamente und Schreibweisen wie Arabesken und Grotesken, Gattungsbezeichnungen wie Silven oder Florilegien, arboreale und mykologische Strukturmodelle wie Baumdiagramme, Rhizome oder Myzele, die auf vegetabile Formvorbilder zurückgreifen? Wie lassen sich diese Darstellungen des Vegetabilen in der Dichtung auf naturwissenschaftliche Verfahren der Sichtbarmachung oder das morphologische und botanische Wissen über Bau- und Formprinzipien der Pflanzen beziehen? Von diesen Beobachtungen ausgehend fragen die Beiträge dieses Bandes, welche Poetologien des Vegetabilen die deutschsprachige Gegenwartslyrik ausgebildet hat und wie sich darin botanisches Wissen, medienkritisches Bewusstsein und ästhetisches Naturerleben zu neuen dichterischen Formen verschränken.

Die Beiträge untersuchen Michael Endes Poetik und das Verhältnis des als Kinder- und Jugendbuchautor wahrgenommenen Autors zum literarischen und intellektuellen Feld der Bundesrepublik Deutschland. Dass sich Ende während seiner gesamten Schriftstellertätigkeit um die Anerkennung des literarischen und intellektuellen Feldes der Bundesrepublik bemüht hat, ist dokumentiert und Bestandteil des feuilletonistischen und akademischen Ende-Diskurses. Welche Strategien und Verfahren Ende für diesen Zweck einsetzte und in welchen Wechselbeziehungen diese zu seinem literarischen Werk stehen, wird hier erstmals systematisch untersucht. Dabei greifen die Beiträge sowohl auf Endes literarische Texte als auch auf seine (literatur-)theoretischen Reden aus, um Endes Poetik und seine Positionierungsstrategien zu konturieren.

In this volume, Lucyna Harmon compares the episodes that constitute the British TV series Agatha Christie's Poirot with David Suchet with their precursor texts, with the aim of establishing most salient changes between both. These changes are grouped by underlying patterns into twenty-three categories. Their list includes activation, anticipation, amelioration, bohemisation, co-option, depopulation, entertainisation, glorification, human softening, importation, marital reduction, melodramatisation, multiplication, pejoration, political correction, political redirection, politicisation, reviving, romanticisation, social adjustment, social alerting, social correction, teaming and thrill intensification. These categories are postulated as adaptation strategies, suitable as a research tool in adaptation studies.

This book offers new insights on socially and culturally engaged Gothic ghost stories by twentieth century and contemporary female writers; including Shirley Jackson, Angela Carter, Toni Morrison, Ali Smith, Susan Hill, Catherine Lim, Kate Mosse, Daphne du Maurier, Helen Dunmore, Michele Roberts, and Zheng Cho. Through the ghostly body, possessions and visitations, women¿s ghost stories expose links between the political and personal, genocides and domestic tyrannies, providing unceasing reminders of violence and violations. Women, like ghosts, have historically lurked in the background, incarcerated in domestic spaces and roles by familial and hereditary norms. They have been disenfranchised legally and politically, sold on dreams of romance and domesticity. Like unquiet spirits that cannot be silenced, women¿s ghost stories speak the unspeakable, revealing these contradictions and oppressions. Wisker¿s book demonstrates that in terms of women¿s ghost stories, there is much to point the spectral finger at and much to speak out about.

From Sherlock Holmes onwards, fictional detectives use lenses: Ocular Proof and the Spectacled Detective in British Crime Fiction argues that these visual aids are metaphors for ways of seeing, and that they help us to understand not only individual detectives¿ methods but also the kinds of cultural work detective fiction may do. It is sometimes regarded as a socially conservative form, and certainly the enduring popularity of ¿Golden Age¿ writers such as Christie, Sayers, Allingham and Marsh implies a strong element of nostalgia in the appeal of the genre. The emphasis on visual aids, however, suggests that solving crime is not a simple matter of uncovering truth but a complex, sophisticated and inherently subjective process, and thus challenges any sense of comforting certainties. Moreover, the value of eye-witness testimony is often troubled in detective fiction by use of the phrase ¿the ocular proof¿, whose origin in Shakespeare¿s Othello reminds usthat Othello is manipulated by Iago into misinterpreting what he sees. The act of seeing thus comes to seem ideological and provisional, and Lisa Hopkins argues that the kind of visual aid selected by each detective is an index of his particular propensities and biases.

Das Thema der kollektiven Autor:innenschaft, bereits in den 1990er Jahren mit Blick auf die damals neuen technologischen Möglichkeiten breiter diskutiert, scheint aktuell erneut auf ein wachsendes Interesse zu stoßen, etwa unter dem Stichwort der ¿Kollaboration¿. Der vorliegende Band fragt nach der Schwellenfunktion der digitalen Wende, die sich in eine Folge von weiteren medialen, epistemischen, ästhetischen und sozialen Schwellen und historisierbaren Konstellationen einreiht, die Konzepte von kollektiver Autorschaft/Autor:innenschaft hervorgebracht und grundsätzlich verändert haben. Die partizipatorische Kultur sowie Verfahren der »produsage«, die sich in den medialen Konvergenzbewegungen der jüngeren Vergangenheit feststellen lassen, haben Zurechnungsstrategien von Autorschaft, an denen lange festgehalten wurde, außer Kurs gebracht. Dazu sind auch die in der Tradition der Avantgarden stehenden Projekte der generativen Codeliteratur zu zählen, die sich von den auf und mittels Plattformen produzierten und distribuierten Texten durch das vorausgesetzte Code-Wissen und den gezielten Gebrauch digitaler Technik unterscheiden lassen. Wurde die automatische Generierung von Text in der Vergangenheit oft als Auslagerung von Autor:innenschaft auf die Maschine konzipiert, rückt hier die Frage nach der »Arbeitsteilung zwischen Mensch und Maschine« in den Vordergrund.

Das Buch untersucht deutschsprachige Texte von KZ-Überlebenden aus Buchenwald und Dachau, die in den zwei produktivsten Phasen der Holocaustliteratur (1945-1949/1979-Gegenwart) veröffentlicht wurden. Die Autorin untersucht das Täterbild narratologisch und erinnerungskulturell vergleichend. Sie zeigt, dass die Autoren der frühen Lagerliteratur die von ihnen erlebten NS-Täter mit aller größter Intensität und Anschaulichkeit darstellen, während sich die der späten Lagerliteratur außer der Täterdarstellung auch auf der Konstruktion ihrer in den KZs verlorenen Identitäten hinwenden. Dementsprechend werden die Opferbilder viel konkreter und detaillierter als zuvor, während die Täterbilder mittlerweile amorpher, abstrakter und allgemeiner scheinen.

At begrebet ”værdikriger” ikke er et postmoderne fænomen, står klart for én, når man stifter bekendtskab med Johannes Jørgensens litteratur- og kunstanmeldelser. Til gengæld har nutidens kulturelle værdikrigere svært ved at hamle op med Jørgensens enorme viden og belæsthed, endsige hans elegante og kirurgisk præcise pen. Johannes Jørgensens europæiske udsyn, kombineret med hans forankring i det danske, gør denne samling anmeldelser til en tour de force i europæisk og dansk kulturhistorie fra 1890’erne og frem til tiden efter anden verdenskrig. Når man læser Johannes Jørgensens anmeldelser, forstår man, hvorfor han – efter H.C. Andersen – er den mest oversatte danske forfatter. Uddrag af bogen Thi for Symbolismen er det Subjektive væsentligt og Virkelighedsgengivelsen uden Værd. For Symbolismen er Virkeligheden kun udtryk for Stemningen, og den symbolistiske Maler omdanner derfor paa sine Billeder Naturens Former og Farver efter sin Stemnings Behov. Det indses heraf, hvor urimeligt man handler i at forarge sig over et symbolistisk Billedes usandsynlige Farver eller urimelige Konturer. Meningen med et saadant Maleri er jo ikke at efterligne Naturen, at afbilde et Stykke Virkelighed – men i Beskuerens Sjæl at fremkalde en Stemning svarende til den, hvoraf Kunstneren i Frembringelsens Øjeblik har været opfyldt. Da Vincent van Gogh vilde fremstille Kristi Passionshistorie gjorde han det i en Række Landskaber, gennem hvis Melankoli og Majestæt han søgte at udtrykke Guddommens Lidelser. Om forfatteren Johannes Jørgensen (1866-1956) var som lyriker, prosaist, journalist og tidsskriftsudgiver en central skikkelse i firsernes og halvfemsernes danske litteratur. Efter sin konvertering til katolicismen i 1896 skrev han fortrinsvis helgenbiografier, men fra denne periode stammer også selvbiografien Mit Livs Legende (1916-28). Han boede med kortere afbrydelser i Assisi i Italien fra 1915 til 1953 og blev et stort navn i den katolske verden. Martin Bergsøe er mag.art. i nordisk litteratur med en bachelor i filosofi og en master i teologi. Er bosiddende på Falster. Han har tidligere udgivet En røst i ørkenen: Ånd og liv i Johannes Jørgensens forfatterskab (2019) samt bidraget til antologien Fagerø om Johannes Jørgensen og hans forfatterskab.