@misc{Reimer2017, author = {Reimer, Anna Maria}, title = {Pink, Katharina, Identitas Oriens: Discursive Constructions of Identity and Alterity in British Orient Travelogues / [reviewed by] Anna Maria Reimer}, series = {Postprints der Universit{\"a}t Potsdam : Philosophische Reihe}, journal = {Postprints der Universit{\"a}t Potsdam : Philosophische Reihe}, number = {126}, issn = {1866-8380}, url = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus4-397856}, pages = {3}, year = {2017}, abstract = {Rezensiertes Werk Pink, Katharina, Identitas Oriens: Diskursive Konstruktionen von Identit{\"a}t und Alterit{\"a}t in britischer Orient-Reiseliteratur - W{\"u}rzburg, Ergon Verlag, 2014 337 S. - (Literatur - Kultur - Theorie, 19)}, language = {en} } @misc{Adair2017, author = {Adair, Gigi}, title = {The "Feringhi Hakīm": medical encounters and colonial ambivalence in Isabella Bird's travels in Japan and Persia}, series = {Postprints der Universit{\"a}t Potsdam : Philosophische Reihe}, journal = {Postprints der Universit{\"a}t Potsdam : Philosophische Reihe}, number = {120}, issn = {1866-8380}, url = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus4-395316}, pages = {13}, year = {2017}, abstract = {This article considers Isabella Bird's representation of medicine in Unbeaten Tracks in Japan (1880) and Journeys in Persia and Kurdistan (1891), the two books in which she engages most extensively with both local (Chinese/Islamic) and Western medical science and practice. I explore how Bird uses medicine to assert her narrative authority and define her travelling persona in opposition to local medical practitioners. I argue that her ambivalence and the unease she frequently expresses concerning medical practice (expressed particularly in her later adoption of the Persian appellation "Feringhi Hakīm" [European physician] to describe her work) serves as a means for her to negotiate the colonial and gendered pressures on Victorian medicine. While in Japan this attitude works to destabilise her hierarchical understanding of science and results in some acknowledgement of traditional Japanese traditions, in Persia it functions more to disguise her increasing collusion with overt British colonial ambitions.}, language = {en} } @misc{Roeder2016, author = {R{\"o}der, Katrin}, title = {Engaging with T.S. Eliot: Four Quartets as a Multimedia Performance}, series = {Zeitschrift f{\"u}r Anglistik und Amerikanistik}, journal = {Zeitschrift f{\"u}r Anglistik und Amerikanistik}, url = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus4-397808}, pages = {20}, year = {2016}, abstract = {This article explores a recent performance of excerpts from T.S. Eliot's Four Quartets (1935/36-1942) entitled Engaging Eliot: Four Quartets in Word, Color, and Sound as an example of live poetry. In this context, Eliot's poem can be analysed as an auditory artefact that interacts strongly with other oral performances (welcome addresses and artists' conversations), as well as with the musical performance of Christopher Theofanidis's quintet "At the Still Point" at the end of the opening of Engaging Eliot. The event served as an introduction to a 13-day art exhibition and engaged in a re-evaluation of Eliot's poem after 9/11: while its first part emphasises the connection between Eliot's poem and Christian doctrine, its second part - especially the combination of poetry reading and musical performance - highlights the philosophical and spiritual dimensions of Four Quartets.}, language = {en} } @phdthesis{Reimer2015, author = {Reimer, Anna Maria}, title = {The poetics of the real and aesthetics of the reel}, url = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus4-95660}, school = {Universit{\"a}t Potsdam}, pages = {298}, year = {2015}, abstract = {The dissertation proposes that the spread of photography and popular cinema in 19th- and 20th-century-India have shaped an aesthetic and affective code integral to the reading and interpretation of Indian English novels, particularly when they address photography and/or cinema film, as in the case of the four corpus texts. In analyzing the nexus between 'real' and 'reel', the dissertation shows how the texts address the reader as media consumer and virtual image projector. Furthermore, the study discusses the Indian English novel against the backdrop of the cultural and medial transformations of the 20th century to elaborate how these influenced the novel's aesthetics. Drawing upon reception aesthetics, the author devises the concept of the 'implied spectator' to analyze the aesthetic impact of the novels' images as visual textures. No God in Sight (2005) by Altaf Tyrewala comprises of a string of 41 interior monologues, loosely connected through their narrators' random encounters in Mumbai in the year 2000. Although marked by continuous perspective shifts, the text creates a sensation of acute immediacy. Here, the reader is addressed as implied spectator and is sutured into the narrated world like a film spectator ― an effect created through the use of continuity editing as a narrative technique. Similarly, Ruchir Joshi's The Last Jet Engine Laugh (2002) coll(oc)ates disparate narrative perspectives and explores photography as an artistic practice, historiographic recorder and epistemological tool. The narrative appears guided by the random viewing of old photographs by the protagonist and primary narrator, the photographer Paresh Bhatt. However, it is the photographic negative and the practice of superimposition that render this string of episodes and different perspectives narratively consequential and cosmologically meaningful. Photography thus marks the perfect symbiosis of autobiography and historiography. Tabish Khair's Filming. A Love Story (2007) immerses readers in the cine-aesthetic of 1930s and 40s Bombay film, the era in which the embedded plot is set. Plotline, central scenes and characters evoke the key films of Indian cinema history such as Satyajit Ray's "Pather Panchali" or Raj Kapoor's "Awara". Ultimately, the text written as film dissolves the boundary between fiction and (narrated) reality, reel and real, thereby showing that the images of individual memory are inextricably intertwined with and shaped by collective memory. Ultimately, the reconstruction of the past as and through film(s) conquers trauma and endows the Partition of India as a historic experience of brutal contingency with meaning. The Bioscope Man (Indrajit Hazra, 2008) is a picaresque narrative set in Calcutta - India's cultural capital and birthplace of Indian cinema at the beginning of the 20th century. The autodiegetic narrator Abani Chatterjee relates his rise and fall as silent film star, alternating between the modes of tell and show. He is both autodiegetic narrator and spectator or perceiving consciousness, seeing himself in his manifold screen roles. Beyond his film roles however, the narrator remains a void. The marked psychoanalytical symbolism of the text is accentuated by repeated invocations of dark caves and the laterna magica. Here too, 'reel life' mirrors and foreshadows real life as Indian and Bengali history again interlace with private history. Abani Chatterjee thus emerges as a quintessentially modern man of no qualities who assumes definitive shape only in the lost reels of the films he starred in. The final chapter argues that the static images and visual frames forwarded in the texts observe an integral psychological function: Premised upon linear perspective they imply a singular, static subjectivity appealing to the postmodern subject. In the corpus texts, the rise of digital technology in the 1990s thus appears not so much to have displaced older image repertories, practices and media techniques, than it has lent them greater visibility and appeal. Moreover, bricolage and pastiche emerge as cultural techniques which marked modernity from its inception. What the novels thus perpetuate is a media archeology not entirely servant to the poetics of the real. The permeable subject and the notion of the gaze as an active exchange as encapsulated in the concept of darshan - ideas informing all four texts - bespeak the resilience of a mythical universe continually re-instantiated in new technologies and uses. Eventually, the novels convey a sense of subalternity to a substantially Hindu nationalist history and historiography, the centrifugal force of which developed in the twentieth century and continues into the present.}, language = {en} } @misc{Roeder2014, author = {R{\"o}der, Katrin}, title = {Reparative Reading, Post-structuralist Hermeneutics and T. S. Eliot's Four Quartets}, series = {Postprints der Universit{\"a}t Potsdam : Philosophische Reihe}, journal = {Postprints der Universit{\"a}t Potsdam : Philosophische Reihe}, number = {115}, issn = {1866-8380}, url = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus4-94204}, pages = {58 -- 77}, year = {2014}, abstract = {This essay approaches T. S. Eliot's Four Quartets (1935-1942) from the perspectives of Eve Kosofsky Sedgwick's critical practice of reparative reading and of Paul Ricoeur's poststructuralist hermeneutics. It demonstrates that Sedgwick's and Ricoeur's approaches can be productively combined to investigate hermeneutic processes in which the textual energy of a dissemination of meaning is redirected by a reparative or integrative impulse. In Four Quartets, this impetus induces the creation of semantic innovation through a violation of semantic pertinence, that is, through novel, tensional and provisional connections between formerly separate textual elements and semantic units.}, language = {en} } @misc{Wiemann2014, author = {Wiemann, Dirk}, title = {George, Rosemary Marangoly, Indian English and the Fiction of National Literature / [reviewed by] Dirk Wiemann}, series = {Postprints der Universit{\"a}t Potsdam : Philosophische Reihe}, journal = {Postprints der Universit{\"a}t Potsdam : Philosophische Reihe}, number = {135}, issn = {1866-8380}, url = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus4-398664}, pages = {4}, year = {2014}, abstract = {Rezensiertes Werk: George, Rosemary Marangoly, Indian English and the Fiction of National Literature - Cambridge: Cambridge University Press, 2013. - Hb. viii, 285 pp. - (Zeitschrift f{\"u}r Anglistik und Amerikanistik ; 62(4)) ISBN 978-1-107-04000-7.}, language = {en} } @phdthesis{Bickert2013, author = {Bickert, Stefanie}, title = {Floras rastlose T{\"o}chter hinter dem Gartentor : die Entwicklung weiblichen Selbstbewusstseins im Hausgarten des 19. Jahrhunderts}, publisher = {Universit{\"a}tsverlag Potsdam}, address = {Potsdam}, isbn = {978-3-86956-269-8}, url = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-68172}, school = {Universit{\"a}t Potsdam}, pages = {313}, year = {2013}, abstract = {Die Dissertation untersucht von Autorinnen (Louisa Johnson, Jane Loudon, Maria Theresa Earle, Gertrude Jekyll, Elizabeth von Arnim) verfasste Ratgeberliteratur zum Hausgarten f{\"u}r ein weibliches Lesepublikum, mit dem Anspruch an eine praktische Gartent{\"a}tigkeit, im Zeitraum von 1839 bis 1900. Die Genderperspektive steht hieraus folgend im Mittelpunkt der vorliegenden Arbeit. Der Fokus auf die b{\"u}rgerliche Mittelklasse ergibt sich aus der Autorinnenperspektive und der angesprochenen Leserschaft. Die Behandlung des Gartens wird einer Analyse unterzogen, die nach der weiblichen Sicht auf den Garten und einem spezifisch weiblichen Selbstverst{\"a}ndnis der garteninteressierten bzw. g{\"a}rtnernden Frauen fragt. In ihrer Besch{\"a}ftigung mit dem Garten leisten die Frauen einen Beitrag zur Konzeption von m{\"a}nnlich und weiblich, zur Bewertung von Geschlechternormen und deren Verhandlung. Das Schreiben und Lesen {\"u}ber den Garten sowie hieraus resultierende Handlungen waren mit der Konstruktion weiblicher Identit{\"a}t verkn{\"u}pft. In ihrer befreienden Konzeption des Gartens heben sich diese Frauenstimmen zu Weiblichkeitsvorstellungen von anderen gesellschaftlichen zugeschriebenen Wirkungsbereichen ab. An die b{\"u}rgerliche Frau herangetragene Rollenerwartungen werden in den Werken weder affirmativ best{\"a}tigt noch offen subversiv hinterfragt. Es handelt sich vielmehr um ein subtiles Unterlaufen durch das Anbieten von Handlungsfeldern, die dem Wunsch nach Selbstverwirklichung und Selbstbestimmung entgegen kamen. Im Garten als vermeintlich kleinem, hausnah-restriktivem Kontext nehmen die Frauen neue Rollen an und variieren diese. Der Besch{\"a}ftigung mit dem Garten kommt daher ein protofeministischer Charakter vor dem Einsetzen der Ersten Frauenbewegung zu, so dass von einem Gartenfeminismus als Instrument zur weiblichen Bewusstwerdung gesprochen werden kann.}, language = {de} } @misc{Wiemann2013, author = {Wiemann, Dirk}, title = {Cities of the Mind - Villages of the Mind}, series = {Postprints der Universit{\"a}t Potsdam : Philosophische Reihe}, journal = {Postprints der Universit{\"a}t Potsdam : Philosophische Reihe}, number = {109}, issn = {1866-8380}, url = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus4-93951}, pages = {14}, year = {2013}, abstract = {Deep into the second half of the twentieth century the traditionalist definition of India as a country of villages remained dominant in official political rhetoric as well as cultural production. In the past two decades or so, this ruralist paradigm has been effectively superseded by a metropolitan imaginary in which the modern, globalised megacity increasingly functions as representative of India as a whole. Has the village, then, entirely vanished from the cultural imaginary in contemporary India? Addressing economic practices from upper-class consumerism to working-class family support strategies, this paper attempts to trace how 'the village' resurfaces or survives as a cultural reference point in the midst of the urban.}, language = {en} } @misc{Ungelenk2012, author = {Ungelenk, Johannes}, title = {Narcissus and Echo}, number = {186}, issn = {1866-8380}, doi = {10.25932/publishup-59996}, url = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus4-599966}, pages = {142}, year = {2012}, abstract = {George Eliot's late novel Daniel Deronda tackles big, fundamental political questions that radiate from the societal circumstances of the novel's production and reach deep into our present-day life. The novel critically analyses the capitalistic, morally flawed and standard-less English society and narrates the title hero's proto-Zionist mission to found a Jewish nation that re-establishes history, meaning and ethical values. This study attempts to trace the novel's two models of society and time by bringing them into resonance with the myth of Narcissus and Echo famously rendered by Ovid. The unloving, self-referential, visual Narcissus is read as the model for the capitalistic world of spectacle and speculation. Echo's loving, memory-bearing voice forms an important part in the construction of the sublating unity of the Jewish nation-to-come. Guided by this resonance between George Eliot's novel and Ovid's myth pieces of critical theory and philosophy are woven into the study's fabric. The resulting analysis dissects and deconstructs the novel's fascinating and highly complex patterns of conditions of possibility for the fabrication of the redeeming Jewish nation, the very same conditions that the novel presents as the conditions of possibility for narrating a meaningful story.}, language = {en} } @misc{RadfordFelserBoxell2012, author = {Radford, Andrew and Felser, Claudia and Boxell, Oliver}, title = {Preposition copying and pruning in present-day English}, series = {Postprints der Universit{\"a}t Potsdam : Humanwissenschaftliche Reihe}, journal = {Postprints der Universit{\"a}t Potsdam : Humanwissenschaftliche Reihe}, number = {527}, issn = {1866-8364}, doi = {10.25932/publishup-41489}, url = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus4-414898}, pages = {24}, year = {2012}, abstract = {This article investigates the nature of preposition copying and preposition pruning structures in present-day English. We begin by illustrating the two phenomena and consider how they might be accounted for in syntactic terms, and go on to explore the possibility that preposition copying and pruning arise for processing reasons. We then report on two acceptability judgement experiments examining the extent to which native speakers of English are sensitive to these types of 'error' in language comprehension. Our results indicate that preposition copying creates redundancy rather than ungrammaticality, whereas preposition pruning creates processing problems for comprehenders that may render it unacceptable in timed (but not necessarily in untimed) judgement tasks. Our findings furthermore illustrate the usefulness of combining corpus studies and experimentally elicited data for gaining a clearer picture of usage and acceptability, and the potential benefits of examining syntactic phenomena from both a theoretical and a processing perspective.}, language = {en} }