TY - GEN A1 - Radford, Andrew A1 - Felser, Claudia A1 - Boxell, Oliver T1 - Preposition copying and pruning in present-day English T2 - Postprints der Universität Potsdam : Humanwissenschaftliche Reihe N2 - 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. T3 - Zweitveröffentlichungen der Universität Potsdam : Humanwissenschaftliche Reihe - 527 KW - syntactic blends Y1 - 2019 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus4-414898 SN - 1866-8364 IS - 527 ER - TY - GEN A1 - Priewe, Marc T1 - Walter W. Woodward, Prospero´s America: John Winthrop, Jr., Alchemy, and the Creation of New England Culture, 1606-1676 / [rezensiert von] Marc Priewe N2 - Rezensiertes Werk: Walter W. Woodward: Prospero’s America: John Winthrop, Jr., Alchemy, and the Creation of New England Culture, 1606-1676. Chapel Hill: University of North Carolina Press, 2010. Hb. 336pp. ISBN 978-0-8078-3301-8. T3 - Zweitveröffentlichungen der Universität Potsdam : Philosophische Reihe - 104 Y1 - 2011 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus4-93713 SP - 199 EP - 200 ER - TY - BOOK A1 - Wiemann, Dirk A1 - Mahlberg, Gaby A1 - Dzelzainis, Martin A1 - Cuttica, Cesare A1 - Lottes, Günther A1 - Davis, J. C. A1 - Pankratz, Anette A1 - Sedlmayr, Gerold A1 - Vallance, Edward A1 - Vanderbeke, Dirk A1 - Borot, Luc A1 - Champion, Justin A1 - Burgess, Glenn ED - Wiemann, Dirk ED - Mahlberg, Gaby T1 - Perspectives on English revolutionary republicanism N2 - Perspectives on English Revolutionary Republicanism takes stock of developments in the scholarship of seventeenth-century English republicanism by looking at the movements and schools of thought that have shaped the field over the decades: the linguistic turn, the cultural turn and the religious turn. While scholars of seventeenth-century republicanism share their enthusiasm for their field, they have approached their subject in diverse ways. The contributors to the present volume have taken the opportunity to bring these approaches together in a number of case studies covering republican language, republican literary and political culture, and republican religion, to paint a lively picture of the state of the art in republican scholarship. The volume begins with three chapters influenced by the theory and methodology of the linguistic turn, before moving on to address cultural history approaches to English republicanism, including both literary culture and (practical) political culture. The final section of the volume looks at how religion intersected with ideas of republican thought. Taken together the essays demonstrate the vitality and diversity of what was once regarded as a narrow topic of political research. KW - Großbritannien KW - Republikanismus KW - Geschichte 1600-1700 KW - Republicanism KW - Great Britain KW - History KW - 17th century Y1 - 2014 SN - 978-1-4094-5567-7 PB - Ashgate CY - Farnham ER - TY - JOUR A1 - Wiemann, Dirk A1 - Mahlberg, Gaby ED - Wiemann, Dirk ED - Mahlberg, Gaby T1 - Introduction : Perspectives on English revolutionary republicanism JF - Perspectives on English revolutionary republicanism Y1 - 2014 SP - 1 EP - 12 PB - Ashgate CY - Farnham ER - TY - GEN A1 - Wiemann, Dirk T1 - Cities of the Mind – Villages of the Mind BT - Imagining Urbanity in Contemporary India T2 - Postprints der Universität Potsdam : Philosophische Reihe N2 - 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. T3 - Zweitveröffentlichungen der Universität Potsdam : Philosophische Reihe - 109 Y1 - 2016 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus4-93951 SN - 1866-8380 IS - 109 ER - TY - GEN A1 - Wiemann, Dirk T1 - George, Rosemary Marangoly, Indian English and the Fiction of National Literature / [reviewed by] Dirk Wiemann T2 - Postprints der Universität Potsdam : Philosophische Reihe N2 - Rezensiertes Werk: George, Rosemary Marangoly, Indian English and the Fiction of National Literature - Cambridge: Cambridge University Press, 2013. - Hb. viii, 285 pp. - (Zeitschrift für Anglistik und Amerikanistik ; 62(4)) ISBN 978-1-107-04000-7. T3 - Zweitveröffentlichungen der Universität Potsdam : Philosophische Reihe - 135 Y1 - 2017 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus4-398664 SN - 1866-8380 IS - 135 ER - TY - THES A1 - Behrendt, Aileen Jorena T1 - Gender Politics and British Women Writers of the 1930s BT - Dynamic Stasis in the Novels of Nancy Mitford, Stevie Smith, Rosamond Lehmann and Jean Rhys T2 - Epistemata : Würzburger wissenschaftliche Schriften. Reihe Literaturwissenschaft N2 - Today’s focus on the 1930s as a time of radical politics paving the way for the apocalypse of the Second World War ignores the complexity of the decade’s cultural responses, especially those by British women writers who highlighted gender issues within their contemporary political climate. The decade’s literature is often understood to capture the political unrest, either narrating people’s chaotic movement or their paralysed shock. This book argues that 1930s novels collapse the distinction between movement and standstill and calls this phenomenon Dynamic Stasis. This Dynamic Stasis thematically and structurally informs the novels of Nancy Mitford, Stevie Smith, Rosamond Lehmann and Jean Rhys. By disrupting the oft-repeated cliché of the 1930s as the age of political extremes, gender politics and negotiations of femininity can emerge from the discursive periphery. This book therefore corrects a persistent gender blind spot, which opens up a (re)consideration of authors that have been overlooked in literary criticism of 1930s to this day. Y1 - 2020 SN - 978-3-8260-7177-5 SN - 2699-5859 N1 - Winner of the Gender Award of the Philosophical Faculty at the University of Potsdam in 2019. IS - 937 PB - Königshausen & Neumann CY - Würzburg ER - TY - THES A1 - Reimer, Anna Maria T1 - The poetics of the real and aesthetics of the reel BT - medial visuality in the contemporary Indian English novel N2 - 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. N2 - Die Dissertation stellt die These auf, dass Photographie und Film im Indien des 19. und 20. Jhd. einen ästhetisch-affektiven Code geprägt haben, der für das Verständnis des Indisch-Englischen Romans von großer Bedeutung ist. Dies gilt umso mehr wenn diese Medien explizit thematisiert werden, so wie es hier der Fall ist. Indem die Verbindung zwischen Realem und (Foto-/Kino-) Film untersucht wird, zeigt die Forschungsarbeit, wie die Texte ihre Leser als Medienkonsumenten und virtuelle ‛Bildprojektoren’ ansprechen. Auf dem kritischen Ansatz der Rezeptionsästhetik aufbauend, entwickelt die Autorin das Konzept des 'impliziten Betrachters', um so die ästhetische Wirkung der Texte auf den Leser analysieren zu können. No God in Sight (2005) von Altaf Tyrewala ist eine Aneinanderreihung von 41 inneren Monologen, lose verbunden durch Zufallsbegegnungen im Mumbai des Jahres 2000. Obgleich von ständigen Perspektivwechseln geprägt, schafft der Text ein Gefühl unmittelbaren Erlebens. In seiner Funktion als impliziter Betrachter wird der Leser hier quasi als Filmzuschauer in die erzählte Welt hineinprojiziert bzw. ‚vernäht‘. Dieser Effekt entsteht durch die Anwendung einer dem Film entlehnten Technik, dem ‚continuity editing‘. Auch Ruchir Joshi‘ The Last Jet Engine Laugh (2002) vereint widersprüchliche Erzählperspektiven. Der Roman beleuchtet Fotographie als künstlerische Praxis, historiographisches Speichermedium und epistemologisches Werkzeug. Das Narrativ erscheint allein durch die Betrachtung alter Fotos durch den Protagonist und primären Erzähler Paresh Bhatt gelenkt. Jedoch sind es das fotographische Negativ und die fotographische Überblendung, welche die disparaten Episoden und Perspektiven erzählerisch schlüssig und kosmologisch bedeutungsvoll machen. Mithin repräsentiert Fotographie hier die Symbiose von Autobiographie und Historiographie. Tabish Khairs Filming. A Love Story (2007) versetzt den Leser in die Welt des Bombay-Films der 1930er und 40er Jahre, in dem die Haupthandlung spielt. Handlung, Szenenbilder und selbst die Namen der Protagonisten verweisen unmittelbar auf Schlüsselfilme der indischen Filmgeschichte wie Satyajit Rays "Pather Panchali" oder Raj Kapoors "Awara".Geschrieben als Film, löst der Text die Grenze zwischen Fiktion und (erzählter) Realität, Film(-rolle) und Realem auf um zu zeigen, dass die individuellen Erinnerungsbilder unauflöslich mit der kollektiven Erinnerung verbunden sind und letztlich von ihr geprägt werden. Die Rekonstruktion der Vergangenheit als und durch (den) Film(e) überwindet schließlich das historische Trauma der Teilung Indiens in ihrer brutalen Sinnlosigkeit. The Bioscope Man (2008) ist ein pikaresker Roman und spielt zu Beginn des 20. Jahrhunderts in Kalkutta, damals noch Indiens kulturelle Hauptstadt und Geburtsstätte des indischen Kinos. Abani Chatterjee erzählt abwechselnd als konventioneller autodiegetischer Erzähler und als Zuschauer bzw. wahrnehmendes Bewusstsein von seinem Aufstieg und Fall als Stummfilmstar. Jenseits seiner Rollen bleibt der Erzähler jedoch eine Leerstelle. Der psychoanalytische Symbolismus des Textes wird durch wiederholte Aufrufung der Motive der Höhle und der Laterna Magica hervorgehoben. Auch hier spiegelt das Leben auf der Filmrolle das ‚echte‘ Leben, indem indische und bengalische Geschichte mit der individuellen (Lebens-)Geschichte verwoben werden. Chatterjee ist letztlich Inbegriff des modernen Menschen, des ‚Mannes ohne Eigenschaften‘ der nur in den verschwundenen Filmen in denen er einst spielte konkrete Form annimmt. Das Schlusskapitel argumentiert, dass die in den Texten entworfenen Bilder eine essentielle psychologische Funktion erfüllen: Auf der Linearperspektive basierend implizieren sie eine singuläre, statische Subjektivität die auf die Leserin als postmodernes Subjekt ansprechend wirkt. In den Texten scheint der Aufstieg der digitalen Technik und ihrer Bildwelt ältere Bilder, visuelle Praktiken und Medientechniken weniger ersetzt, als ihnen größere Sichtbarkeit und Appeal verliehen zu haben. Weiterhin werden Bricolage und Pastiche als originär moderne (Kultur-)Techniken dargestellt. Die den Romanen inhärente Medienarchäologie untersteht daher nicht vollständig der Poetik des Realen. Die hinduistisch geprägten Ideen vom ‚durchlässigen‘ Subjekt und vom Sehen als aktivem Austausch wie es der Begriff „darshan“ konzeptualisiert, verweisen auf die Widerstandskraft eines mythischen Universums das sich in den neuen Technologien kontinuierlich fortpflanzt. Letztlich versinnlichen und versinnbildlichen die Romane die Hindu-nationalistisch geprägte Geschichte des 20. Jahrhunderts, deren Zentrifugalkraft in ihrer Exklusivität und Aggressivität bis heute nachwirkt. KW - postcolonial literatures in English KW - Indian English novel KW - visual culture KW - Hindi film KW - Indian cinema KW - phenomenology KW - reception aesthetics KW - media studies KW - No God in Sight KW - The Last Jet Engine Laugh KW - Filming. A Love Story KW - The Bioscope Man KW - visual textures KW - media anthropology KW - photography KW - implied spectator KW - rasadhvani KW - Pather Panchali KW - Awara KW - postkoloniale englische Literaturen KW - indisch-englischer Roman KW - Intermedialität KW - suture KW - indisches Kino KW - Medienwissenschaft Y1 - 2015 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus4-95660 ER - TY - JOUR A1 - Wiemann, Dirk T1 - George, Rosemary Marangoly, Indian English and the Fiction of National Literature / [rezensiert von] Dirk Wiemann JF - Zeitschrift für Anglistik und Amerikanistik : ZAA ; a quarterly of language, literature and culture N2 - Rezensiertes Werk George, Rosemary Marangoly, Indian English and the Fiction of National Literature - Cambridge: Cambridge University Press, 2013. - Hb. viii, 285 pp. - (Zeitschrift für Anglistik und Amerikanistik ; 62(4)) ISBN 978-1-107-04000-7. Y1 - 2014 U6 - https://doi.org/10.1515/zaa-2014-0039 SN - 0044-2305 SN - 2196-4726 VL - 62 IS - 4 SP - 385 EP - 388 PB - DeGruyter CY - Tübingen ER - TY - JOUR A1 - Lampart, Fabian T1 - Rezension zu: Per un atlante geostorico della letteratura tedesca (1900–1930) / Hrsg.: Francesco Fiorentino, Milena Massalongo, Gianluca Paolucci. - Roma: Istituto Italiano di Studi Germanici, 2021. - 326 S. - ISBN: 978-88-95868-56-1 JF - Studi Germanici Y1 - 2023 UR - https://www.studigermanici.it/wp-content/uploads/2023/06/SG23_Osservatorio.pdf SN - 0039-2952 VL - 2023 IS - 23 SP - 289 EP - 291 PB - Istituto Italiano di Studi Germanici CY - Rome ER -