Bøker utgitt av Verlag Peter Lang

This book explores the gap that has developed between two sides in linguistics: the formal tradition and the functional tradition. It discusses fundamental issues such as tense, aspect and action by examining and comparing insights from the two traditions with a view to determining whether there are any possibilities of future bridge-building between the two approaches. This study focuses on comparing the actual output of different linguistic approaches and examines their ¿usefulness¿. A major aim is, therefore, to evaluate and identify the most useful approach.

As one of the most widely read German authors of the nineteenth century, Gustav Freytag (1816-1895) continues to be associated with the middle class and the progress it enjoyed. Yet while his best-selling novel Soll und Haben (1855) and its lesser-known successor Die verlorene Handschrift (1864) owed their vast commercial success largely to their buoyant message of bourgeois advancement, they simultaneously devote significant attention to elements of traditional German society. In exploring Freytag¿s dual roles as both a novelist of contemporary middle-class life and a cultural historian, this book uncovers the author¿s divergent ¿ and ostensibly conflicting ¿ desire both to embrace progress and commemorate the past. Investigating his literary engagement with three central elements of Germany¿s historical identity ¿ the pervasiveness of folk beliefs, a strong identification with rural life, and the continued presence of the aristocracy ¿ this study shows how Freytag attempts to locate these constituents of pre-industrial Germany in a modern, industrial nation, and in doing so contributes to a historically anchored national identity in which material and political progress coexist with a rich heritage and ancient traditions.

The Greek Bible and the services of the Orthodox Church have proved a rich source of language for many poets of modern Greece, and perhaps for none more than for Kostis Palamas, Angelos Sikelianos and Odysseas Elytis, whose overlapping careers span the period 1876-1996. A blurring of the boundaries between Orthodoxy and ¿Greekness¿ (hellênikotêta, which all three poets celebrate) has often led critics to assume from the Christian borrowings in the poetry the Christian allegiance of the poets. Through detailed analyses of selected poems, focusing on their relation to Biblical and liturgical source texts, this book questions whether the work of these poets is compatible with Christianity at all. It asks whether a Christ who is assimilated, along with the Virgin Mary, into the ancient Greek pantheon, or presented as a symbol of Beauty, or as object of the erotic desire of the women of the Gospels is still within the realm of Orthodoxy. Above all it asks whether, when the poetic ego appropriates to itself words which in their original context belong to Christ or Jehovah, there is any room left for the divine, or whether the poet has not in fact elbowed God off the stage altogether.

This first book-length biography with discussions of select writings by Luise Büchner (1821-1877) draws on her commentary of events available in letters and writings. A close reading of Büchner¿s fictional writings reveals that she both entertained and educated her readers. Her pedagogical messages correspond to ideas she promoted in her work on the «woman question». This in-depth study properly situates her in the changing cultural climate and socio-political developments that led to unification of the German states in 1871. Büchner tested and revised her thoughts on the «woman question» in the course of her practical work as a co-founder of local women¿s associations and as a member of two competing «national» bourgeois women¿s organizations. Her «voice» and temperament, as reflected in letters and articles not consulted by previous biographers, lead to surprising discoveries about a single woman whose life had more to offer than the narrowly prescribed roles assigned to middle-class women of her day.

In this book the author explores the representational strategies of the modern period and their relation to political life through the story of Stanislas Leszczynski, architect king and roi bienfaisant, ¿a king that does good¿. The ingredients of his story are compelling. They include: an exiled king (who makes a cameo appearance in Voltaire¿s Candide and corresponds with Rousseau); a collection of writings that include aphorisms, political treatises, and a utopian novel; gardens that include a grotto of eighty-six life-size automata and an experimental village of courtiers; and architecture and landscapes that traverse the contested boundaries of central Europe, imaginary constructions of the orient, and the borderlines between fact and fiction. These come together to make a distinctive account of the transitional period in eighteenth-century culture. Stanislas¿ architectural and literary works were rooted in an acceptance of the uncertainty of the world more characteristic of the story. His ¿hope of a better age¿ emerges as an endeavour ¿ through the writing and the architecture ¿ to find one¿s own meaning in history as well as a model for the good life. His story suggests a way of exploring what this struggle still entails today.

Walter Vogt, the Swiss psychiatrist and author (1927-1988), can be considered a gadfly in the Swiss medical profession and a paradox in the Swiss literary arena. This ¿writing doctor¿ shocked the Swiss medical establishment with a scathing exposé in his 1965 novel, Wüthrich, and then continued to write prolifically until his death. He was noted for his use of the grotesque, as well as for his literary sarcasm and use of parody. Vogt¿s use of the diary as his main genre enhanced his popularity. He was one of the first Swiss writers with a strong commitment to preventing environmental degradation. Vogt suffered from many physical illnesses, in addition to a multitude of psychological conflicts throughout his life. He was focused on death and illness from his early adult years. This book not only looks at Vogt from a psychiatric point of view, but also at his contribution to contemporary Swiss-German literature.

This volume presents selected papers from the conference ¿Violence, Culture and Identity¿ held at St Andrews University in 2003. It seeks to explore the ways in which French writing since 1920 has registered and reflected on the violent national traumas of the World Wars, the Occupation and decolonisation. The essays consider how these crises have led French writers to a critical, often painful reassessment of national, cultural and individual identity. Contributors trace the different challenges offered to any comfortable consensual notions of Frenchness, and to the structures of authority which invest in such a consensus. A recurrent preoccupation is the problematic issue of ¿memory culture¿, especially of how a post-conflict generation copes with an avowed or concealed inheritance of violence and guilt. The thematics, ethics, rhetoric and imagery of violence are charted through debates around surrealism and in writings by major figures, such as Malraux, Sartre, Camus, Genet and Modiano, while a final group of essays looks closely at how a new wave within the popular roman noir genre (the ¿néo-polar¿) engages emphatically and controversially with these issues and their political implications.

French film design throughout the 1930s was a period of 'ripping open' film sets to make them not just descriptive, but also expressive. This book details the elaborate paraphrasing tendencies of French film design in the period, exploring the crucial role of the set designer in the film's evolutionary process.

Friedrich Schiller (1759-1805) absorbed the fertile ideas of the German Enlightenment, observed first-hand fresh developments in German Romanticism, and fostered one of Europe¿s last great Classical movements. His insights into the human condition have endured and are as valuable now as they were when he first wrote. His characterisations of human nature remain compelling and his stylistic achievements in language continue to be admired and studied. His writing spanned many genres ¿ poetry, prose, drama, history, philosophy ¿ and includes a rich correspondence with Goethe. In this volume, an interdisciplinary and international group of scholars examines the many sides that Schiller displays. The contributors illuminate key facets of his ideas by organising his writing around his various vocations: his medical training; work as a poet, young dramatist, and author of literary prose; his tenure as a university professor and historian; the mutually productive partnership with Goethe; his philosophical writings; and his final years as a mature playwright. His afterlife, what Schiller has meant to Germans for two centuries, is also considered.

Maxim Gorky was dubbed the father of socialist realism in the Soviet period, but he had forged his career as an internationally known novelist and dramatist some three or more decades earlier. Posing questions that Soviet critics found difficult to confront, the author examines the effects of exile and religion on the content and form of the plays as well as the role played by women, and the personal and political implications of motherhood. All sixteen of Gorky¿s published plays are covered, and the book explores whether this body of work has themes and styles to unify it. While conflict is central to the core political themes and also infiltrates many aspects of the dramatic style (cartoonish and grotesque), other less expected themes and styles emerge. Viewing the post-revolutionary plays as a development of earlier work leads to a question rarely posed: are the plays written by Gorky in the process of defining the new Party-inspired socialist realism in fact less about socialist realist issues of conformity, and more about Gorky¿s own painful life experience? And what is equally under the microscope is a search for the monumental style frequently associated with socialist realist theatre: the proposed origins of the spatial grandeur in Gorky¿s plays come as a surprise.

In celebrating the academic career and practice of a distinguished scholar of French literature, this volume concentrates on one of Peter Broome¿s major preoccupations and attainments: translation. Eschewing a dogmatic, theoretical approach, the contributors (former colleagues and students) tackle four rich areas of study: modern anglophone poets¿ reactions to, and translations of, authors with whom they have closely identified (Racine, the Symbolists, Saint-John Perse, Valéry); problematics of translating specific poets of recent centuries (Rimbaud, Mallarmé, Valéry, Césaire, some contemporary poets); reception and interaction in two foreign countries (Australia, Spain); and a more fluid interpretation of translation, moving the notion across into wider realms of literary expression (Mallarmé, Proust, Assia Djebar). A focalising feature, punctuating the volume, are Peter Broome¿s own translations of hitherto unpublished poems by five major contemporary French writers: Jean-Paul Auxeméry, Marie-Claire Bancquart, Louise Herlin, Vénus Khoury-Ghata and Jean-Charles Vegliante. The book thus intertwines theory and practice in a non-prescriptive manner which invites further elaboration and analysis.

During the mid-nineteenth century, Charlotte Birch-Pfeiffer pursued a fifty-year career as a playwright and theater manager in Germany, Austria, and Switzerland at a time of the transformation of court theaters and itinerant troupes into commercial establishments staffed by middle-class professionals and subject to market forces. Although she has been undervalued by some critics past and present who considered her mainly as an adapter of contemporary novels, this study shows that with her thorough knowledge of the European dramatic tradition, her skill as a playwright, and above all her professionalism she overcame institutional and gender bias to develop a form of drama that integrated the social and economic changes of her time. The analysis focuses on her use of the subversive genre of comedy, the strategies she used to evade the censor, and her employment of assertive female and working-class characters. She revived commedia dell¿arte techniques of the past while devising innovations that anticipated the subsequent course of drama as well as the film techniques of today.