Bøker i Buchreihe Der Anglia / Anglia Book Series-serien

Discrimination, stigmatization, xenophobia, heightened securitization - fear and blaming of "aliens within" - characterize the world infected by COVID-19. Such fears have a long cultural history, however, particularly in connecting pathology with race, poverty, and migration. This volume explores theory and narratives of disease, danger, and displacement through the lenses of cultural, literary, and film studies, historical representation, ethnics studies, sociology and cultural geography, classics, music, and linguistics. Investigations range from, for example, illness discourse in the ancient classics to images of perilous intruders in the Age of Trump, from the Haitian Revolution and subsequent zombie stereotypes to current, problematic refugee resettlement in the US South and Greek islands, from the urban underworld in nineteenth-century sensation novels to ethnic women "on the stroll" in coronavirus times. The collection is organized into three thematically intertwined parts: Stigmatizing the Racialized Underclass; Pathologizing the Other; Constructing and Countering Collapse. It examines changing or recurrent aporias in tropes of belonging and exclusion, as well as the birthing of new forms of identity, agency, and countercultural expression.

This volume negotiates the question of poetry and genre using individual case studies. It encompasses sections on the classifying, cultural, political, and medial aspects of this question. Conventional categories of genre are questioned and new categories are sketched out and assessed critically. The individual case studies relate to various genres, periods, languages, and literatures.

This book focuses on the tensions between processes of consciousness and their products like worldviews, theories, models of thought etc. Staying close to their technical meanings in chaos and catastrophe theory, chaotic processes are described in mainly neurobiological and evolutionary terms while products are delineated in their evolutionary logic. Given both a relative opacity of processes of the mind and of the outside world, the dramatic quality of the processes, a certain closeness to ¿hysterical¿ and ¿schizophrenic¿ tendencies and, within the context of the weakening orientating power of worldviews, an alarming catastrophic potential emerge.As a consequence, the book aims at a comparative cost-benefit analysis of the transitionality between ¿chaotic¿ processes of consciousness and the often ¿catastrophic¿ implications of their products within historical frameworks. The central thesis consists in the increasing failure in the orientation of action which cannot be contained by systems of ethics. Materials for this analysis are mainly drawn from texts normally called literary in which the tension between biographical and historical dimensions provides profiles of chaos and catastrophe.

The female performer with a public voice constitutes a remarkably vibrant theme in British and American narratives of the long nineteenth century. The tension between fictional female performers and other textual voices can be seen to refigure the cultural debate over the ¿voice¿ of women in aesthetically complex ways. By focusing on singers, actresses, preachers and speakers, this book traces and explores an important tradition of feminine articulation.Drawing on critical approaches in literary studies, gender studies and philosophy, the book conceptualizes voice for the discussion of narrative texts. Examining voice both as a thematic concern and as an aesthetic effect, the individual chapters analyse how the actual articulation by female performers correlates with their cultural visibility and agency. What this study foregrounds is how women characters succeed in making themselves heard even if their voices are silenced in the end.

Aldred's interlinear gloss to the Lindisfarne Gospels is a key text of late Old Northumbrian. In this title, the papers approach the gloss from a variety of perspectives to shed light on numerous issues, such as the authorship of the gloss, its morphosyntax and vocabulary, its sources and intertextual relations, and Aldred's cultural affiliations.

Night and day, light and darkness, shape our world: light signifies life, knowledge and all that is good, while darkness suggests death, ignorance and evil. This title examines the interconnections of night and illumination across a broad range of literary texts.

A collection that comprises essays from various interdisciplinary perspectives such as literary scholarship, intermediality, art history, psychoanalysis, philosophy, and narrative medicine to analyze and interpret the fictional and non-fictional works by Siri Hustvedt, an author who is recognized as one of the most widely read American writers.

The Anglia Book Series (ANGB) offers a selection of high quality work on all areas and aspects of English philology. It publishes book-length studies and essay collections on English language and linguistics, on English and American literature and culture from the Middle Ages to the present, on the new English literatures, as well as on general and comparative literary studies, including aspects of cultural and literary theory.

This book focuses on the tensions between processes of consciousness and their products like worldviews, theories, models of thought etc. Staying close to their technical meanings in chaos and catastrophe theory, chaotic processes are described in mainly neurobiological and evolutionary terms while products are delineated in their evolutionary logic. Given both a relative opacity of processes of the mind and of the outside world, the dramatic quality of the processes, a certain closeness to 'hysterical' and 'schizophrenic' tendencies and, within the context of the weakening orientating power of worldviews, an alarming catastrophic potential emerge.As a consequence, the book aims at a comparative cost-benefit analysis of the transitionality between 'chaotic' processes of consciousness and the often 'catastrophic' implications of their products within historical frameworks. The central thesis consists in the increasing failure in the orientation of action which cannot be contained by systems of ethics. Materials for this analysis are mainly drawn from texts normally called literary in which the tension between biographical and historical dimensions provides profiles of chaos and catastrophe.

This book is the first sustained investigation of the political dimension in the work of J.G. Ballard. A product of and reaction to the cultural-socio-economic moment commonly designated as the postmodern condition, Ballard's oeuvre is read as a continuous and developing meditation on the postmodern, examining it specifically as an expression of late capitalism. The book shows that at the heart of this meditation lies the question of resistance. Drawing on a wide range of concepts and ideas taken from the field of critical theory, it argues that in the face of a world marked by an unprecedented expansion of capital, in which modernity's grand narratives have been invalidated and in which received forms of political struggle have lost their effectiveness, Ballard's fiction commits itself to a deliberately irrational and extreme, pataphysical thought in order to develop a new discourse of resistance. Against past readings that have construed Ballard's writing as non-political, decadent, or quietist, the study thus reveals Ballard as a thoroughly political author, committed to a subversive politics. In this way, the book also constitutes a timely intervention in the ongoing discussion concerning the nature and state of the political.

This study seeks to fill a major gap in the fields of Nineteenth-Century American and British Studies by examining how nineteenth-century intellectuals shape and re-shape aesthetic traditions across the Atlantic Ocean.

Aldred's interlinear gloss to the Lindisfarne Gospels (London, British Library, MS Cotton Nero D.IV) is one of the most substantial representatives of the Old English variety known as late Old Northumbrian. Although it has received a great deal of attention in the past two centuries, there are still numerous issues which remain unresolved. The papers in this collection approach the gloss from a variety of perspectives - language, cultural milieu, palaeography, glossography - in order to shed light on many of these issues, such as the authorship of the gloss, the morphosyntax and vocabulary of the dialect(s) it represents, its sources and relationship to the Rushworth Gospels, and Aldred's cultural and religious affiliations. Because of its breadth of coverage, the collection will be of interest and great value to scholars in the fields of Anglo-Saxon studies and English historical linguistics.

This collection comprises essays from various interdisciplinary perspectives ¿ e.g. literary scholarship, intermediality, art history, psychoanalysis, philosophy, and medicine ¿ to analyze and interpret the fictional and non-fictional works by Siri Hustvedt, an author whose reputation and public presence have been growing steadily in the 21st century and who is recognized as one of the most widely read and appreciated contemporary American writers. In her significance and stature as a public intellectual, she is not merely an American writer but a transnational, cosmopolitan author, who develops new forms not only of literary narrative but of interdisciplinary thought and writing, bringing together otherwise separated genres and branches of knowledge in a broad spectrum between literature and philosophy, historiography and art, psychoanalysis and neuroscience, narrative and medicine. The present volume is structured into the parts ¿Literary Creation and Communication,¿ Psychoanalysis and Philosophy,¿ ¿Medicine and Narrative,¿ ¿Vision, Perception, and Power,¿ and ¿Trauma, Memory, and the Ambiguities of Self¿ and closes with an interview of Siri Hustvedt by Susanne Becker in which Hustvedt elucidates her personal conception of her own creative processes of writing.

The Anglia Book Series (ANGB) offers a selection of high quality work on all areas and aspects of English philology. It publishes book-length studies and essay collections on English language and linguistics, on English and American literature and culture from the Middle Ages to the present, on the new English literatures, as well as on general and comparative literary studies, including aspects of cultural and literary theory.

This study tries, through a systematic and historical analysis of the concept of critical authority, to write a history of literary criticism from the end of the 17th to the end of the 18th century that not only takes the discursive construction of its (self)representation into account, but also the social and economic conditions of its practice. It tries to consider the whole of the critical discourse on literature and criticism in the time period covered. Thus, it is distinctive through its methodology (there is no systematic account of the historical development of critical authority and no discussion of the institutionalization of criticism of such a scope), its material of analysis (most of the many hundred texts self-reflexively commenting on criticism that are discussed here have been so far virtually ignored) and through its results, a complex history of criticism in the 18th century that is neither reductive nor the accumulation of isolated aspects or author figures, but that probes into the very nature of the activity of criticism. The aim of this study is both to provide a thorough historical understanding of the emergence of criticism and as a consequence an understanding of the inner workings and power relations that structure criticism to this day.

The Anglia Book Series (ANGB) offers a selection of high quality work on all areas and aspects of English philology. It publishes book-length studies and essay collections on English language and linguistics, on English and American literature and culture from the Middle Ages to the present, on the new English literatures, as well as on general and comparative literary studies, including aspects of cultural and literary theory.

The Anglia Book Series (ANGB) offers a selection of high quality work on all areas and aspects of English philology. It publishes book-length studies and essay collections on English language and linguistics, on English and American literature and culture from the Middle Ages to the present, on the new English literatures, as well as on general and comparative literary studies, including aspects of cultural and literary theory.

Light and darkness shape our perception of the world. This is true in a literal sense, but also metaphorically: in theology, philosophy, literature and the arts the light of day signifies life, safety, knowledge and all that is good, while the darkness of the night suggests death, danger, ignorance and evil. A closer inspection, however, reveals that things are not quite so clear cut and that light and darkness cannot be understood as simple binary opposites. On a biological level, for example, daylight and darkness are inseparable factors in the calibration of our circadian rhythms, and a lack of periodical darkness appears to be as contrary to health as a lack of exposure to sunlight. On a cultural level, too, night and darkness are far from being universally condemnable: in fiction, drama and poetry the darkness of the night allows not only nightmares but also dreams, it allows criminals to ply their trade and allows lovers to meet, it allows the pursuit of pleasure as well as deep thought, it allows metamorphoses, transformations and transgressions unthinkable in the light of day. But night is not merely darkness. The night gains significance as an alternative space, as an ¿other of the day¿, only when it is at least partially illuminated. The volume examines the interconnection of night, darkness and nocturnal illumination across a broad range of literary texts. The individual essays examine historically specific light conditions in literature, tracing the symbolic and metaphoric content of darkness and illumination and the attitudes towards them.

The category of vision is significant for Modernist texts as well as for the unfolding discourse of Modernism itself. Within the general Modernist fascination with the artistic and experimental possibilities of vision and perception this study looks at Virginia Woolf's novels and her critical writings and examines the relation between visuality and aesthetics. An aesthetics of vision, as this study argues, becomes a productive principle of narrative. The visual is not only pertinent to Woolf's processes of composition, but her works create a kind of vision that is proper to the text itself - a vision that reflects on the experience of seeing and renegotiates the relation between the reader and the text. The study investigates key dimensions of aesthetic vision. It addresses vision in the context of theories of aesthetic experience and identifies a semantics of seeing. It analyses functions of symbolic materiality in the presentation of boundaries of perception, modes of temporality and poetic potentialities. In exploring the connections between vision and language, it seeks to provide new perspectives for a reassessment of what occurs in Modernism's relation to vision.

Die vorliegende Arbeit beschaftigt sich mit den neuesten Entwicklungen im Verhaltnis von Literatur und Naturwissenschaft. Im ersten Teil findet eine kritische Auseinandersetzung mit den science wars statt. Eine besondere Rolle spielt dabei die "e;Rhetorik der Naturwissenschaften"e;, da hier auch die Literaturwissenschaft zum Tragen kommen kann. Dabei werden rhetorische Elemente in der naturwissenschaftlichen Sprache nicht als Beleg fur Mangel in der Erkenntnisfahigkeit kritisiert, sondern gerade auch Konzepte nutzbar gemacht, die die Erkenntnistrachtigkeit von Metaphern untersuchen. Daruber hinaus werden Aspekte aus der Gedachtnisforschung, der Rhetorik, der Kognitionsbiologie und der Evolutionstheorie dafur herangezogen, Fragen nach der Sprachentstehung und der Herkunft der anscheinend ubiquitaren rhetorischen und poetischen Elemente der Sprache zu beleuchten. Die Arbeit soll damit einen Beitrag auf dem Weg zu einer produktiven Interdisziplinaritat leisten. Im zweiten Teil werden derzeit gangige literaturwissenschaftlichen Positionen zur literarischen Verarbeitung neuerer naturwissenschaftlicher Themen behandelt. Im Vordergrund steht eine Kritik an der kategorischen Ablehnung von Einflumodellen, da diese nicht nur konzeptionelle Fehler aufweist, sondern auch dem Befund zuwiderlauft. Es folgen Untersuchungen von literarischen Texten, an denen sich nicht nur ein souveraner und kritischer Umgang mit naturwissenschaftlichen Themen zeigen lat, sondern auch eine imaginative Bearbeitung, die jeden Verdacht auf ein hierarchisches Gefalle oder eine Abhangigkeit von wissenschaftlichen Wahrheitsanspruchen unterlauft.