TY  - JOUR
A1  - Waller, Nicole
T1  - Marronage or underground?
BT  - the black geographies of Colson Whitehead's The Underground Railroad and Ta-Nehisi Coates's The Water Dancer
JF  - MELUS : multi-ethnic literature of the U.S. / Society for the Study of the Multi-Ethnic Literature of the United States
N2  - I combine a reading of contemporary scholarship on US maroon histories and the Underground Railroad—and the concomitant notions of marronage and the underground—with a reading of two recent works of African American literature: Colson Whitehead’s The Underground Railroad (2016) and Ta-Nehisi Coates’s The Water Dancer (2019). Foregrounding the idea of Black geographies as a form of placemaking and “thinking otherwise” about land and water, I suggest that despite the differing, and at times contrasting, trajectories of maroon histories and the histories of Black flight to the North, African American maroon experiences and the Underground Railroad are conceptually connected in contemporary African American literature. I read the two novels as recent literary expressions of this conceptual link, which is played out via representations of relating to the land. By reimagining and intertwining marronage and the underground, both novels articulate a critique of settler-colonial and plantation modes of spatial practice, modes they identify as formative for US-American nationhood. They also, tentatively but forcefully, gesture toward alternative ways of being “above” and “below” the land while affirming African American connectedness to place.
Y1  - 2022
U6  - https://doi.org/10.1093/melus/mlac021
SN  - 0163-755X
SN  - 1946-3170
VL  - 47
IS  - 1
SP  - 45
EP  - 70
PB  - Oxford Univ. Press
CY  - Oxford
ER  - 
TY  - JOUR
A1  - Wilke, Heinrich
T1  - Character and perspective in cosmic horror
BT  - Lovecraft and Kiernan
JF  - Zeitschrift für Anglistik und Amerikanistik : a quarterly of language, literature and cultur
N2  - Despite their overt focus on inexplicable alien forces, cosmic horror stories are also determined by their human cast. Far from being merely fodder for horror, the characters significantly contribute to the generation of meaning, including that of the supernatural entity or phenomenon itself. The same holds for the narrators' (implicitly) political perspectives on the world of which they are part. Much of the perspective propounded in Lovecraft's cosmic horror stories partakes of myth, adopting in particular the latter's universal view and pronounced sidelining of humanity as a whole, which it intensifies to the point of horror. Appearances to the contrary notwithstanding, this universal perspective is consistent with the racism permeating and structuring Lovecraft's writing. Though eschewing racism and universalism, the cosmic horror of Kiernan's "Tidal Forces" negotiates literary reflections of colonialism from an unreflective white perspective.
KW  - cosmic horror
KW  - H. P. Lovecraft
KW  - Caitlin R. Kiernan
KW  - race and whiteness
KW  - fiction
Y1  - 2021
U6  - https://doi.org/10.1515/zaa-2021-2038
SN  - 0044-2305
SN  - 2196-4726
VL  - 69
IS  - 2
SP  - 173
EP  - 190
PB  - De Gruyter
CY  - Berlin
ER  - 
TY  - JOUR
A1  - Röder, Katrin
T1  - Mobiles Glück in den englischen Romanen des 18. Jahrhunderts
JF  - Mobilisierte Kulturen
Y1  - 2011
U6  - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus-57356
SN  - 2192-3019
SN  - 2192-3027
IS  - 1
SP  - 91
EP  - 133
ER  - 
TY  - GEN
A1  - Röder, Katrin
T1  - Engaging with T.S. Eliot: Four Quartets as a Multimedia Performance
T2  - Zeitschrift für Anglistik und Amerikanistik
N2  - 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.
Y1  - 2017
U6  - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus4-397808
ER  - 
TY  - JOUR
A1  - Stillmark, Hans-Christian
ED  - Langner, Paul Martin
ED  - Mirecka, Agata
T1  - Perturbation als Analysemethode dramatischer Texte
BT  - Dramaturgien der "Störung" bei Bertolt Brecht und Heiner Müller
JF  - Tendenzen der zeitgenössischen Dramatik
N2  - Perturbation als Analysemethode für dramatische Texte wird hier am Beispiel von Brecht und Müller ausprobiert.
KW  - Perturbation
KW  - Dramatik
KW  - Brecht
KW  - Heiner Müller
Y1  - 2015
SN  - 978-3-631-65597-9
SP  - 11
EP  - 29
PB  - Lang-Ed.
CY  - Frankfurt, M.
ER  - 
TY  - THES
A1  - Peitzker, Tania
T1  - Dymphna Cusack (1902 - 1981) : a feminist analysis of gender in her romantic realistic texts
N2  - Das Dissertationsprojekt befasst sich mit der australischen Autorin Dymphna Cusack, deren Popularität in Ost und West zwischen 1955 und 1975 ihren Höhepunkt erreichte. In diesem Zeitraum wurde sie nicht nur in den westlichen Industriestaaten, in Australien, England, Frankreich und Nord Amerika viel gelesen, sondern auch in China, Russland, der Deutschen Demokratischen Republik und in vielen Sowjetrepubliken. Im Verlauf ihres Schaffens wurde ihr grosse Anerkennung für ihren Beitrag zur australischen Literatur zuteil; sie erhielt die „Commonwealth Literary Pension“, die „Queen′s Silver Jubilee Medal“ und 1981 den „Award of her Majesty“. Trotz dieser Unterstützung durch den Staat in Australien und England äusserte Cusack immer wieder feministische, humanistisch-pazifistische, und anti-faschistisch bzw. pro-sowjetische Sozialkritik.  Sie war auch für ihren starken Nationalismus bekannt, plädierte dafür, eine „einheimische“ Literatur und Kultur zu pflegen. Besonders das australische Bildungssystem war das Ziel ihrer Kritik, basierend auf ihren Erfahrungen als Lehrerin in städtischen und ländlichen Schulen, die sie ihrer Autobiographie beschrieb. 'Weder ihr Intellekt, noch ihre Seele oder ihre Körper wurden gefördert, um ganze Männer oder ganze Frauen aus ihnen zu machen. Besonders letztere wurden vernachlässigt. Mädchen wurden ermutigt, ihren Platz dort zu sehen, wo deutsche Mädchen ihn einst zu sehen hatten: bei Kindern, Küche, Kirche.' Cusack engagierte sich stark für Bildungsreformen, die das Versagen australischer Schulen, das erwünschte liberal-humanistische Subjekt zu herauszubilden, beheben sollten.  Der liberale Humanismus der Nachkriegszeit schuf ein populäres Bedürfnis nach romantischem Realismus, den man in Cusacks Texten finden kann. Um verstehen zu können, wie Frauen sich zwischen „Realismus und Romanze“ verfingen, biete ich eine Dekonstruktion von Geschlecht innerhalb dieses „hybriden“ Genres an. Mittels feministischer Methodik können Einblicke in die konfliktvolle Subjektivität beider Geschlechter in verschiedenen historischen Perioden gewonnen werden: die Zeit zwischen den Kriegen, während des Pazifischen Krieges und den Weltkriegen, während des Kalten Krieges, zur Zeit der Aborigine-Bewegung, des Vietnamkrieges, sowie zu Beginn der zweiten feministischen Bewegung in den siebziger Jahren. Eine Rezeptionsanalyse des romantischen Realismus und der Diskurse, die diesen prägen, sind in Kapitel zwei und drei untersucht.  Die Dekonstruktion von Weiblichkeit und eines weiblichen Subjekts ist in Kapitel vier unternommen, innerhalb einer Diskussion der Art und Weise, wie Cusacks romantischer Erzählstil mit dem sozialen Realismus interagiert. Nach der Forschung von Janice Radway, werden Cusacks Erzählungen in zwei Tabellen unterteilt: die Liebesgeschichte versagt, ist erfolgreich, eine Parodie oder Idealisierung (s. „Ideal and Failed Romances“; „Primary Love Story Succeeds or Fails“). Unter Einbeziehung von Judith Butlers philosophischem Ansatz in die Literaturkritik wird deutlich, dass diese Hybridisierung der Gattungen das fiktionale Subjekt davon abhält, ihr/sein Geschlecht „sinnvoll“ zu inszenieren. Wie das „reale Subjekt“, der Frau in der Gesellschaft, agiert die fiktionale Protagonistin in einer nicht intelligiblen Art und Weise aufgrund der multiplen Anforderungen an und den Einschränkungen für ihr Geschlecht.  Demnach produziert die geschlechtliche Benennung des Subjektes eine Vielfalt von Geschlechtern: Cusacks Frauen und Männer sind geprägt von den unterschiedlichen und konfliktvollen Ansprüchen der dichotom gegenübergestellten Genres. Geschlecht, als biologisches und soziales Gebilde, wird danach undefinierbar durch seine komplexen und inkonsistenten Ausdrucksformen in einem romantisch-realistischen Text. Anders gesagt führt die populäre Kombination von Liebesroman und Realismus zu einer Überschreitung der Geschlechtsbinarität, die in beiden Genres vorausgesetzt wird.  Weiterführend dient eine Betrachtung von Sexualität und Ethnie in Kapitel fünf einer differenzierteren Analyse humanistischer Repräsentationen von Geschlecht in der Nachkriegsliteratur. Die Notwendigkeit, diese Repräsentationen in der Populär- und in der Literatur des Kanons zu dekonstruieren, ist im letzten Kapitel dieser Dissertation weiter erläutert.
N2  - In her lifetime, Dymphna Cusack continually launched social critiques on the basis of her feminism, humanism, pacificism and anti-fascist/pro-Soviet stance. Recalling her experi-ences teaching urban and country schoolchildren in A Window in the Dark, she was particularly scathing of the Australian education system. Cusack agitated for educational reforms in the belief that Australian schools had failed to cultivate the desired liberal humanist subject: 'Neither their minds, their souls, nor their bodies were developed to make the Whole Man or the Whole Woman - especially the latter. For girls were encouraged to regard their place as German girls once did: Kinder, Küche, Kirche - Children, Kitchen and Church.' I suggest that postwar liberal humanism, with its goals of equality among the sexes and self-realisation or 'becoming Whole', created a popular demand for the romantic realism found in Cusack′s texts. This twentieth century form of humanism, evident in new ideas of the subject found in psychoanalysis, Western economic theory and Modernism, informed each of the global lobbies for peace and freedom that followed the destruction of World War II.  Liberal ideas of the individual in society became synonymous with the humanist representations of gender in much of postwar, realistic literature in English-speaking countries. The individual, a free agent whose aim was to 'improve the life of human beings', was usually given the masculine gender. He was shown to achieve self-realisation through a commitment to the development of “mankind”, either materially or spiritually. Significantly, the majority of Cusack′s texts diverge from this norm by portraying women as social agents of change and indeed, as the central protagonists.  Although the humanist goal of self-realisation seems to be best adapted to social realism, the generic conventions of popular romance also have humanist precepts, as Catherine Belsey has argued. The Happy End is contrived through the heroine′s mental submission to her physical desire for the previously rejected or criticised lover. As Belsey has noted, desire might be considered a deconstructive force which momentarily prevents the harmonious, permanent unification of mind and body because the body, at the moment of seduction, does not act in accord with the mind. In popular romance, however, desire usually leads to a relationship or proper union of the protagonists.   In Cusack′s words, the heroine and hero become “whole men and women” through the “realistic” love story. Thus romance, like realism, seeks to stabilise gender relations, even though female desire is temporarily disruptive in the narrative. In the end, women and men become fully realised characters according to the generic conventions of the love story or the consummation of potentially subversive desire. It stayed anxieties associated with women seeking independence and self-realisation rather than traditional romance which signalled a threat to existing gender relations.  I proposed that an analysis of gender in Cusack′s fiction is warranted, since these apparently unified, humanist representations of romantic realism belie the conflicting aims and actions of the gendered subjects in this historical period. For instance, when we examine women′s lives immediately after the war, we can identify in both East and West efforts initiated by women and men to reconstruct private/public roles. In order to understand how women were caught between “realism and romance”, I plan to deconstruct gender within the paradigm of this hybrid genre.   By adopting a femininist methodology, new insights may be gained into the conflictual subjectivity of both genders in the periods of the interwar years, the Pacific and World Wars, the Cold War, the Australian Aboriginal Movement at the time of the Vietnam War, as well as the moment of second wave Western feminism in the seventies. My definition of romantic realism and the discourses that inform it are examined in chapters two and three. A deconstruction of femininity and the female subject is pursued in chapter four, when I argue that Cusack′s romantic narratives interact in different ways with social realism: romance variously fails, succeeds, is parodic or idealised. Applying Judith Butler′s philosophical ideas to literary criticism, I argue that this hybridisation of genre prevents the fictional subject from performing his or her gender.   Like the “real” subject - actual women in society - the fictional protagonist acts in an unintelligible fashion due to the multifarious demands and constraints on her gender. Consequently, the gendering of the sexed subject produces a multiplicity of genders: Cusack′s women and men are constituted by differing and conflicting demands of the dichotomously opposed genres. Thus gender and sex become indefinite through their complex, inconsistent expression in the romantic realistic text. In other words, the popular combination of romance and realism leads to an explosion of the gender binary presupposed by both genres. Furthermore, a consideration of sexuality and race in chapter five leads to a more differentiated analysis of the humanist representations of gender in postwar fiction. The need to deconstruct these representations in popular and canonical literature is recapitulated in the final chapter of this Dissertation.
KW  - Cusack
KW  - Dymphna ; Geschlechtsunterschied
KW  - Gender / Geschlecht
KW  - Judith Butler
KW  - Romanze
KW  - Realismus
KW  - australische Literaturgeschichte
KW  - Ost/West Rezeption
Y1  - 2000
U6  - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-0000276
ER  - 
TY  - THES
A1  - Honka, Agnes
T1  - Writing an alternative Australia : women and national discourse in nineteenth-century literature
N2  - In this thesis, I want to outline the emergence of the Australian national identity in colonial Australia. National identity is not a politically determined construct but culturally produced through discourse on literary works by female and male writers. The emergence of the dominant bushman myth exhibited enormous strength and influence on subsequent generations and infused the notion of “Australianness” with exclusively male characteristics. It provided a unique geographical space, the bush, on and against which the colonial subject could model his identity. Its dominance rendered non-male and non-bush experiences of Australia as “un-Australian.” I will present a variety of contemporary voices – postcolonial, Aboriginal, feminist, cultural critics – which see the Australian identity as a prominent topic, not only in the academia but also in everyday culture and politics. Although positioned in different disciplines and influenced by varying histories, these voices share a similar view on Australian society: Australia is a plural society, it is home to millions of different people – women, men, and children, Aboriginal Australians and immigrants, newly arrived and descendents of the first settlers – with millions of different identities which make up one nation. One version of national identity does not account for the multitude of experiences; one version, if applied strictly, renders some voices unheard and oppressed. After exemplifying how the literature of the 1890s and its subsequent criticism constructed the itinerant worker as “the” Australian, literary productions by women will be singled out to counteract the dominant version by presenting different opinions on the state of colonial Australia. The writers Louisa Lawson, Barbara Baynton, and Tasma are discussed with regard to their assessment of their mother country. These women did not only present a different picture, they were also gifted writers and lived the ideal of the “New Women:” they obtained divorces, remarried, were politically active, worked for their living and led independent lives. They paved the way for many Australian women to come. In their literary works they allowed for a dual approach to the bush and the Australian nation. Louisa Lawson credited the bushwoman with heroic traits and described the bush as both cruel and full of opportunities not known to women in England. She understood women’s position in Australian society as oppressed and tried to change politics and culture through the writings in her feminist magazine the Dawn and her courageous campaign for women suffrage. Barbara Baynton painted a gloomy picture of the Australian bush and its inhabitants and offered one of the fiercest critiques of bush society. Although the woman is presented as the able and resourceful bushperson, she does not manage to survive in an environment which functions on male rules and only values the economic potential of the individual. Finally, Tasma does not present as outright a critique as Barbara Baynton, however, she also attests the colonies a fascination with wealth which she renders questionable. She offers an informed judgement on colonial developments in the urban surrounds of the city of Melbourne through the comparison of colonial society with the mother country England. Tasma attests that the colonies had a fascination with wealth which she renders questionable. She offers an informed judgement on colonial developments in the urban surrounds of the city of Melbourne through the comparison of colonial society with the mother country England and demonstrates how uncertainties and irritations emerged in the course of Australia’s nation formation. These three women, as writers, commentators, and political activists, faced exclusion from the dominant literary discourses. Their assessment of colonial society remained unheard for a long time. Now, after much academic excavation, these voices speak to us from the past and remind us that people are diverse, thus nation is diverse. Dominant power structures, the institutions and individuals who decide who can contribute to the discourse on nation, have to be questioned and reassessed, for they mute voices which contribute to a wider, to the “full”, and maybe “real” picture of society.
N2  - Das heutige Australien ist eine heterogene Gesellschaft, welche sich mit dem Vermächtnis der Vergangenheit – der Auslöschung und Unterdrückung der Ureinwohner – aber auch mit andauernden Immigrationswellen beschäftigen muss. Aktuelle Stimmen in den australischen Literatur-, Kultur- und Geschichtswissenschaften betonen die Prominenz der Identitätsdebatte und weisen auf die Notwendigkeit einer aufgeschlossenen und einschließenden Herangehensweise an das Thema. Vor diesem Hintergrund erinnern uns die Stimmen der drei in dieser Arbeit behandelten Schriftstellerinnen daran, dass es nicht nur eine Version von nationaler Identität gibt. Die Pluralität einer Gesellschaft spiegelt sich in ihren Texten wieder, dies war der Fall im neunzehnten Jahrhundert und ist es heute noch. So befasst sich die vorliegende Arbeit mit der Entstehung nationaler Identität im Australien des späten neunzehnten Jahrhunderts. Es wird von der Prämisse ausgegangen, dass nationale Identität nicht durch politische Entscheidungen determiniert wird, sondern ein kulturelles Konstrukt, basierend auf textlichen Diskurs, darstellt. Dieser ist nicht einheitlich, sondern mannigfaltig, spiegelt somit verschiedene Auffassungen unterschiedlicher Urheber über nationale Identität wider. Ziel der Arbeit ist es anhand der Texte australischer Schriftstellerinnen aufzuzeigen, dass neben einer dominanten Version der australischen Identität, divergierende Versionen existierten, die eine flexiblere Einschätzung des australischen Charakters erlaubt, einen größeren Personenkreis in den Rang des „Australiers“ zugelassen und die dominante Version hinterfragt hätten. Die Zeitschrift Bulletin wurde in den 1890ern als Sprachrohr der radikalen Nationalisten etabliert. Diese forderten eine Loslösung der australischen Kolonien von deren Mutterland England und riefen dazu auf, Australien durch australische Augen zu beschreiben. Dem Aufruf folgten Schriftsteller, Maler und Künstler und konzentrierten ihren Blick auf die für sie typische australische Landschaft, den „Busch“. Schriftsteller, allen voran Henry Lawson, glorifizierten die Landschaft und ihre Bewohner; Pioniere und Siedler wurden zu Nationalhelden stilisiert. Der australische „bushman“ - unabhängig, kumpelhaft und losgelöst von häuslichen und familiären Verpflichtungen - wurde zum „typischen“ Australier. Die australische Nation wurde mit männlichen Charaktereigenschaften assoziiert und es entstand eine Version der zukünftigen Nation, die Frauen und die Australischen Ureinwohner als Nicht-Australisch propagierte, somit von dem Prozess der Nationsbildung ausschloss. Nichtsdestotrotz verfassten australische Schriftstellerinnen Essays, Romane und Kurzgeschichten, die alternative Versionen zur vorherrschenden und zukünftigen australischen Nation anboten. In dieser Arbeit finden Louisa Lawson, Barbara Baynton und Tasma Beachtung. Letztere ignoriert den australischen Busch und bietet einen Einblick in den urbanen Kosmos einer sich konsolidierenden Nation, die, obwohl tausende Meilen von ihrem Mutterland entfernt, nach Anerkennung und Vergleich mit diesem durstet. Lawson und Baynton, hingegen, präsentieren den Busch als einen rechtlosen Raum, der vor allem unter seinen weiblichen Bewohnern emotionale und physische Opfer fordert.
KW  - Australien
KW  - Identität
KW  - Nation
KW  - Geschlecht
KW  - Literatur
KW  - Australia
KW  - Identity
KW  - Nation
KW  - Gender
KW  - Literature
Y1  - 2007
U6  - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus-16502
ER  - 
TY  - GEN
A1  - Eckstein, Lars
T1  - Transatlantic slavery and the literary imagination
N2  - Transatlantic slavery and the literary imagination The challenges of turning transatlantic slavery into literature A polyphony of historical voices: Caryl Phillips’s dialogic imagination Literary imagination and the Zong Massacre: Fred D’Aguiar and David Dabydeen Perspectives
T3  - Zweitveröffentlichungen der Universität Potsdam : Philosophische Reihe - 81 
Y1  - 2009
U6  - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus-59201
ER  - 
TY  - JOUR
A1  - Crane, Kylie Ann
T1  - Anthropocene Presences and the Limits of Deferral
BT  - Alexis Wright's Carpentaria and The Swan Book
JF  - Open library of humanities
N2  - Literary criticism, particularly ecocriticism, occupies an uneasy position with regard to activism: reading books (or plays, or poems) seems like a rather leisurely activity to be undertaking if our environment—our planet—is in crisis. And yet, critiquing the narratives that structure worlds and discourses is key to the activities of the (literary) critic in this time of crisis. If this crisis manifests as a ‘crisis of imagination’ (e.g. Ghosh), I argue that this not so much a crisis of the absence of texts that address the environmental disaster, but rather a failure to comprehend the presences of the Anthropocene in the present. To interpret (literary) texts in this framework must entail acknowledging and scrutinising the extent of the incapacity of the privileged reader to comprehend the crisis as presence and present rather than spatially or temporally remote. The readings of the novels Carpentaria (2006) and The Swan Book (2013) by Waanyi writer Alexis Wright (Australia) trace the uneven presences of Anthropocenes in the present by way of bringing future worlds (The Swan Book) to the contemporary (Carpentaria). In both novels, protagonists must forge survival amongst ruins of the present and future: the depicted worlds, in particular the representations of the disenfranchisement of indigenous inhabitants of the far north of the Australian continent, emerge as a critique of the intersections of capitalist and colonial projects that define modernity and its impact on the global climate.
Y1  - 2019
U6  - https://doi.org/10.16995/olh.348
SN  - 2056-6700
VL  - 5
IS  - 1
PB  - Open library of humanities
CY  - Cambridge
ER  - 
TY  - JOUR
A1  - Hartung, Heike
T1  - Longevity narratives
BT  - Darwinism and beyond
JF  - Journal of aging studie
N2  - The essay looks at longevity narratives as an important configuration of old age, which is closely related to evolutionary theories of ageing. In order to analyse two case studies of longevity published in the early twentieth century, the American psychologist G. Stanley Hall's book Senescence (1922) and the British dramatist Bernard Shaw's play cycle Back to Methuselah (1921), the essay draws on an outline of theories of longevity from the Enlightenment to the present. The analysis of the two case studies illustrates that evolutionary and cultural perspectives on ageing and longevity are ambivalent and problematic. In Hall's and Shaw's texts this is related to a crisis narrative of culture and civilization against which both writers place their specific solutions of individual and species longevity. Whereas Hall employs autobiographical accounts of artists as examples of longevity to strengthen his argument about wise old men as exclusive repositories of knowledge, Shaw in his vision of longevity as an extended form of midlife for both genders encounters the limits of age representation.
KW  - Age studies
KW  - Cultural studies
KW  - Longevity narratives
KW  - Evolutionary theories of ageing
Y1  - 2018
U6  - https://doi.org/10.1016/j.jaging.2018.03.002
SN  - 0890-4065
SN  - 1879-193X
VL  - 47
SP  - 84
EP  - 89
PB  - Elsevier
CY  - New York
ER  - 
TY  - CHAP
A1  - Lottes, Günther
T1  - Language and Content
BT  - the political thought of algernon Sidney between Republicanism and Enlightenment
T2  - Perspectives on English revolutionary republicanism
Y1  - 2014
SP  - 53
EP  - 61
PB  - Ashgate
CY  - Farnham
ER  - 
TY  - GEN
A1  - Reimer, Anna Maria
T1  - Pink, Katharina, Identitas Oriens: Discursive Constructions of Identity and Alterity in British Orient Travelogues / [reviewed by] Anna Maria Reimer
T1  - Pink, Katharina, Identitas Oriens: Diskursive Konstruktionen von Identität und Alterität in britischer Orient-Reiseliteratur / [rezensiert von] Anna Maria Reimer
T2  - Postprints der Universität Potsdam : Philosophische Reihe
N2  - Rezensiertes Werk 
Pink, Katharina, Identitas Oriens: Diskursive Konstruktionen von Identität und Alterität in britischer Orient-Reiseliteratur - Würzburg, Ergon Verlag, 2014 337 S. - (Literatur - Kultur - Theorie, 19)
T3  - Zweitveröffentlichungen der Universität Potsdam : Philosophische Reihe - 126 
Y1  - 2017
U6  - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus4-397856
SN  - 1866-8380
IS  - 126
ER  - 
TY  - GEN
A1  - Adair, Gigi
T1  - The “Feringhi Hakīm”: medical encounters and colonial ambivalence in Isabella Bird’s travels in Japan and Persia
T2  - Postprints der Universität Potsdam : Philosophische Reihe
N2  - 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.
T3  - Zweitveröffentlichungen der Universität Potsdam : Philosophische Reihe - 120 
KW  - Isabella Bird
KW  - medicine
KW  - travel
KW  - gender
KW  - colonialism
KW  - missionaries
KW  - Japan
KW  - Persia
Y1  - 2017
U6  - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus4-395316
SN  - 1866-8380
IS  - 120
ER  - 
TY  - CHAP
ED  - Röder, Kathrin
ED  - Wischer, Ilse
T1  - Proceedings : Anglistentag 2012 Potsdam
T2  - Proceedings of the conference of the German Association of University Teachers of English
Y1  - 2013
SN  - 978-3-86821-488-8
VL  - 34
PB  - Wissenschaftlicher Verlag
CY  - Trier
ER  - 
TY  - JOUR
A1  - Peters, Arne
A1  - van Hattum, Marije
T1  - Pseudonyms as carriers of contextualised threat in 19th-century Irish English threatening notices
JF  - English world-wide : a journal of varieties of English
N2  - This paper explores functions of pseudonyms in written threatening communication from a cognitive sociolinguistic perspective. It addresses the semantic domains present in pseudonyms in a corpus of 19th-century Irish English threatening notices and their cognitive functions in the construction of both cultural-contextualised threat and the threatener's identity. We identify eight semantic domains that are accessed recurrently in order to create threat. Contributing to the notion of threat involves menacing war, violence, darkness and perdition directly, while also constructing a certain persona for the threatener that highlights their motivation, moral superiority, historical, local and circumstantial expertise, and their physical and mental aptitude. We argue that pseudonyms contribute to the deontic force of the threat by accessing cultural categories and schemas as well as conceptual metaphors and metonymies. Finally, we suggest that pseudonyms function as post-positioned semantic frame setters, providing a cognitive lens through which the entire threatening notice must be interpreted.
KW  - pseudonyms
KW  - threatening communication
KW  - Irish English
KW  - persona
KW  - construction
KW  - sociocultural cognition
KW  - context-specificity
KW  - post-positioned semantic frame setters
Y1  - 2021
U6  - https://doi.org/10.1075/eww.00059.pet
SN  - 0172-8865
SN  - 1569-9730
VL  - 42
IS  - 1
SP  - 29
EP  - 53
PB  - John Benjamins Publishing Co.
CY  - Amsterdam
ER  - 
TY  - JOUR
A1  - Ungelenk, Johannes
ED  - Fluhrer, Sandra
ED  - Waszynski, Alexander
T1  - Touching this dreaded sight
BT  - Die anstößige Wucht des Theaters in Shakespeares Hamlet und The Tempest
JF  - Tangieren : Praktiken und Arrangements des Berührens in den performativen Künsten
N2  - Ausgehend von der in Shakespeare zweimal wiederkehrenden Phrase „Touching this dreaded sight“ widmet sich der Beitrag mithilfe ausgewählter Stellen aus Shakespeares Hamlet und The Tempest der Wirkkraft des frühneuzeitlichen Theaters. Er geht der Frage nach, wie Zuschauer*innen eines Stückes aus der Distanz be-troffen und ge-rührt werden. Um dem nachzudenken, wie diese Distanz zwischen dem Visuellen, dem Schauen im Theater, und dem Haptischen, der Berührung, überbrückt werden kann, helfen frühneuzeitliche Vorstellungen von theatraler Ansteckungskraft und Hans Blumenbergs Konzept menschlicher Betreffbarkeit.
KW  - Berühren
KW  - Theater
KW  - Blumenberg
KW  - Shakespeare
Y1  - 2020
SN  - 978-3-96821-002-5
SN  - 978-3-96821-003-2
SP  - 203
EP  - 220
PB  - Rombach
CY  - Freiburg i. Br.
ER  - 
TY  - GEN
A1  - Ungelenk, Johannes
T1  - Narcissus and Echo
BT  - A Political Reading of George Eliot's Daniel Deronda
N2  - 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.
T3  - Zweitveröffentlichungen der Universität Potsdam : Philosophische Reihe - 186 
Y1  - 2012
U6  - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus4-599966
SN  - 1866-8380
IS  - 186
ER  - 
TY  - GEN
A1  - Röder, Katrin
T1  - Reparative Reading, Post-structuralist Hermeneutics and T. S. Eliot’s Four Quartets
T2  - Postprints der Universität Potsdam : Philosophische Reihe
N2  - 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.
T3  - Zweitveröffentlichungen der Universität Potsdam : Philosophische Reihe - 115 
Y1  - 2016
U6  - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus4-94204
SN  - 1866-8380
IS  - 115
SP  - 58
EP  - 77
ER  - 
TY  - THES
A1  - Bickert, Stefanie
T1  - Floras rastlose Töchter hinter dem Gartentor : die Entwicklung weiblichen Selbstbewusstseins im Hausgarten des 19. Jahrhunderts
T1  - Floras’ restless daughters behind the garden fence : growing female consciousness in the 19th century garden
N2  - Die Dissertation untersucht von Autorinnen (Louisa Johnson, Jane Loudon, Maria Theresa Earle, Gertrude Jekyll, Elizabeth von Arnim) verfasste Ratgeberliteratur zum Hausgarten für ein weibliches Lesepublikum, mit dem Anspruch an eine praktische Gartentätigkeit, im Zeitraum von 1839 bis 1900. Die Genderperspektive steht hieraus folgend im Mittelpunkt der vorliegenden Arbeit. Der Fokus auf die bürgerliche 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 Selbstverständnis der garteninteressierten bzw. gärtnernden Frauen fragt. In ihrer Beschäftigung mit dem Garten leisten die Frauen einen Beitrag zur Konzeption von männlich und weiblich, zur Bewertung von Geschlechternormen und deren Verhandlung. Das Schreiben und Lesen über den Garten sowie hieraus resultierende Handlungen waren mit der Konstruktion weiblicher Identität verknüpft. In ihrer befreienden Konzeption des Gartens heben sich diese Frauenstimmen zu Weiblichkeitsvorstellungen von anderen gesellschaftlichen zugeschriebenen Wirkungsbereichen ab. An die bürgerliche Frau herangetragene Rollenerwartungen werden in den Werken weder affirmativ bestätigt 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 Beschäftigung 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.
N2  - The thesis takes a close look at gardening literature by several women writer’s (Louisa Johnson, Jane Loudon, Maria Theresa Earle, Gertrude Jekyll, Elizabeth von Arnim) in the Victorian period, focusing on practical gardening activities. Central to its theme is its gender perspective within the garden context, predominantly in the middle classes. The garden is analysed in various contexts focusing on a specific female view on gardening as seen in the texts and a growing female self-awareness that results from their involvement with the garden. In making the garden their subject, these writers actively construct notions of male and female. Writing and reading about the garden and the resulting practices are linked to the construction of a female identity and ultimately open up gender roles. The liberating construction of the garden within the texts differs from the conception of other socially accepted areas of female involvement in the period of examination. Received gender roles are neither overtly affirmed nor subversively challenged in the texts. Their approach is more of a subtle reconstruction by offering a new and wider range of activities that acknowledge a female desire for self-determination and fulfilment. In the garden as an allegedly small and restrictive site close to the home, women are able to diversify given stereotypes and take on new roles. Gardening as a leisure or professional occupation therefore holds proto-feminist implications even before the beginning of the First Women’s Movement, so that we can speak of a garden feminism instrumental to a negotiation of female gender roles.
KW  - Gärten
KW  - Gartenkultur
KW  - Frauen
KW  - Kulturwissenschaft
KW  - 19. Jahrhundert
KW  - gardening
KW  - garden cultures
KW  - cultural studies
KW  - women writers
KW  - Victorian
Y1  - 2013
U6  - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus-68172
SN  - 978-3-86956-269-8
PB  - Universitätsverlag Potsdam
CY  - Potsdam
ER  - 
TY  - GEN
A1  - Eckstein, Lars
T1  - Saturday on Dover Beach : Ian McEwan, Matthew Arnold, and post-9/11 melancholia
N2  - This essay revisits Ian McEwan’s extremely successful novel Saturday, and interrogates its exemplary assessment of the British cultural climate after 9/11. The particular focus is on McEwan’s extensive recourse to the writings of Matthew Arnold, whose melancholy outlook on culture and anarchy McEwan basically translates into the 21st century without much ideological fraction. This relapse into Victorian liberal humanism as consolation for a Western world besieged by the contingencies of terrorism is extremely problematic. Not only does it wilfully ignore the transcultural realities of modern Britain, it also promotes an ahistorical and apolitical mode of critical inquiry which may be called reductive at best in view of the global challenges that the novel addresses.
T3  - Zweitveröffentlichungen der Universität Potsdam : Philosophische Reihe - 82 
Y1  - 2011
U6  - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus-59228
ER  - 
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  -