Der Witwer. Die Gefährtin erscheint als 14. Band der – von Konstanze Fliedl herausgegebenen – historisch-kritischen Ausgabe von Arthur Schnitzlers Frühwerk. Ein Witwer erfährt aus Briefen vom Betrug ...seiner verstorbenen Gattin mit seinem besten Freund und Assistenten. Schnitzler widmete sich diesem Stoff zuerst in der Novelle Der Witwer und erarbeitete daraus schließlich das Drama Die Gefährtin. Die Texte verhandeln gesellschafts- und kulturpolitischen Kontexte der Zeit und zeigen ein Ringen um Ethik und Moral – vor allem in Hinblick auf die Institution ‚Ehe‘. Während erste Ansätze zu einer Aufbereitung der Entstehungsgeschichte bereits vorliegen (Höfflin-Grether 2021), veranschaulicht die vorliegende Ausgabe die Komplexität der Entstehung in vollem Umfang; faksimiliert die Handschriften, die sich großteils im Schnitzler-Nachlass an der Cambridge University Library befinden, versieht sie mit einer Umschrift und ediert die Typoskripte. Der Band zeichnet zudem die Druckgeschichte nach und bietet Lesetexte der Novelle und des Dramas nach dem Erstdruck bzw. der Erstausgabe. Versehen werden die Texte mit Kommentaren zu kulturhistorischen Kontexten, Austriazismen und veralteten, zum Teil fremdsprachlichen Ausdrücken. Die historisch-kritische Ausgabe bietet eine wissenschaftlich fundierte Grundlage für eine Auseinandersetzung mit dem Werk Arthur Schnitzlers. ; Der Witwer. Die Gefährtin erscheint als 14. Band der – von Konstanze Fliedl herausgegebenen – historisch-kritischen Ausgabe von Arthur Schnitzlers Frühwerk. Ein Witwer erfährt aus Briefen vom Betrug seiner verstorbenen Gattin mit seinem besten Freund und Assistenten. Schnitzler widmete sich diesem Stoff zuerst in der Novelle Der Witwer und erarbeitete daraus schließlich das Drama Die Gefährtin. Die Texte verhandeln gesellschafts- und kulturpolitischen Kontexte der Zeit und zeigen ein Ringen um Ethik und Moral – vor allem in Hinblick auf die Institution ‚Ehe‘. Während erste Ansätze zu einer Aufbereitung der Entstehungsgeschichte bereits vorliegen (Höfflin-Grether 2021), veranschaulicht die vorliegende Ausgabe die Komplexität der Entstehung in vollem Umfang; faksimiliert die Handschriften, die sich großteils im Schnitzler-Nachlass an der Cambridge University Library befinden, versieht sie mit einer Umschrift und ediert die Typoskripte. Der Band zeichnet zudem die Druckgeschichte nach und bietet Lesetexte der Novelle und des Dramas nach dem Erstdruck bzw. der Erstausgabe. Versehen werden die Texte mit Kommentaren zu kulturhistorischen Kontexten, Austriazismen und veralteten, zum Teil fremdsprachlichen Ausdrücken. Die historisch-kritische Ausgabe bietet eine wissenschaftlich fundierte Grundlage für eine Auseinandersetzung mit dem Werk Arthur Schnitzlers.
In Reciprocity, Truth, and Gender in Pindar and Aeschylus, author Arum Park explores two notoriously difficult ancient Greek poets and seeks to articulate the complex relationship between them. ...Although Pindar and Aeschylus were contemporaries, previous scholarship has often treated them as representatives of contrasting worldviews. Park’s comparative study offers the alternative perspective of understanding them as complements instead. By examining these poets together through the concepts of reciprocity, truth, and gender, this book establishes a relationship between Pindar and Aeschylus that challenges previous conceptions of their dissimilarity. The book accomplishes three aims: first, it shows that Pindar and Aeschylus frame their poetry using similar principles of reciprocity; second, it demonstrates that each poet depicts truth in a way that is specific to those reciprocity principles; and finally, it illustrates how their depictions of gender are shaped by this intertwining of truth and reciprocity. By demonstrating their complementarity, the book situates Pindar and Aeschylus in the same poetic ecosystem, which has implications for how we understand ancient Greek poetry more broadly: using Pindar and Aeschylus as case studies, the book provides a window into their dynamic and interactive poetic world, a world in which ostensibly dissimilar poets and genres actually have much more in common than we might think.
In times of relativism – marked by the critique of Western universalism on the one hand, and resurgent identitarian and neo-nationalistic claims to identity on the other, this volume tracks the ...development and relevance of cultural and social practices that posit forms of minor universality, asking: Where and how do contemporary practices open up concrete settings so as to create experiences, reflections and agencies of a shared humanity?
Winner of the British Association for Comtemporary Literary Stuides (BACLS) monograph prize The period since the Good Friday Agreement in 1998 has seen a sustained decrease in violence and, at the ...same time, Northern Ireland has undergone a literary renaissance, with a fresh generation of writers exploring innovative literary forms. This open access book explores contemporary Northern Irish fiction and how the ‘post’-conflict period has led writers to a renewed engagement with intimacy and intimate life. Magennis draws on affect and feminist theory to examine depictions of intimacy, pleasure and the body in their writings and shows how intimate life in Northern Ireland is being reshaped and re-written. Featuring short reflective pieces from some of today’s most compelling Northern Irish Writers, including Lucy Caldwell, Jan Carson, Bernie McGill and David Park, this book provides authoritative insights into how a contemporary engagement with intimacy provides us with new ways to understand Northern Irish identity, selfhood and community. The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com.
Literature and the Senses critically probes the role of literature in capturing and scrutinizing sensory perception. Organized around the five traditional senses, followed by a section on ...multisensoriality, the collection facilitates a dialogue between scholars working on literature written from the Middle Ages to the present day. The contributors engage with a variety of theorists from Maurice Merleau-Ponty to Michel Serres to Jean-Luc Nancy to foreground the distinctive means by which literary texts engage with, open up, or make uncertain dominant views of the nature of perception. Considering the ways in which literary texts intersect with and diverge from scientific, epistemological, and philosophical perspectives, these essays explore a wide variety of literary moments of sensation including the interspecies exchange of a look between a swan and a young Indigenous Australian girl; the sound of bees as captured in an early modern poem; the noxious smell of the ‘Great Stink’ that recurs in the Victorian novel; the taste of an aubergine registered in a poetic performance; tactile gestures in medieval romance; and the representation of a world in which the interdependence of human beings with the purple hibiscus plant is experienced through all five senses. The collection builds upon and breaks new ground in the field of sensory studies, focusing on what makes literature especially suitable to engaging with, contributing to, and challenging our perennial understandings of the senses.
This collection brings together for the first time literary studies of British colonies in nineteenth-century Australia, New Zealand, South Africa, South America, Southeast Asia, and the Pacific ...Islands. Drawing on hemispheric studies, Indigenous studies, and southern theory to decentre British and other European metropoles, the collection offers a latitudinal challenge to national paradigms and traditional literary periodisations and canons by proposing a new literary history of the region that is predicated less on metropolitan turning points and more on southern cultural perspectives in multiple regional centres from Cape Town to Dunedin. With a focus on southern orientations, southern audiences, and southern modes of addressivity, Worlding the south foregrounds marginal, minor, and neglected writers and texts across a hemispheric complex of southern oceans and terrains. Drawing on an ontological tradition that tests the dominance of networked theories of globalisation, the collection also asks how we can better understand the dialectical relationship between the ‘real’ world in which a literary text or art object exists and the symbolic or conceptual world it shows or creates. By examining the literary processes of ‘worlding’, it demonstrates how art objects make legible homogenising imperial and colonial narratives, inequalities of linguistic power, textual and material violence, and literary and cultural resistance. With contributions from leading scholars in nineteenth-century literary and cultural studies, the collection revises literary histories of the ‘British world’ by arguing for the distinctiveness of settler colonialism in the southern hemisphere, and by incorporating Indigenous, diasporic, settler, and other southern perspectives.
This book develops a theory of wild translation. It describes literary strategies that not only serve to translate content but also produce new poetic texts out of foreign linguistic material. ...Analyses of Johann Fischart’s Geschichtklitterung (1575) and Arno Schmidt’s Zettel’s Traum (1970) examine the function and aesthetic implications of this technique and how it is poetologically negotiated in the texts themselves.
Imagining Iberia in English and Castilian Medieval Romance offers a broad disciplinary, linguistic, and national focus by analyzing the literary depiction of Iberia in two European vernaculars that ...have rarely been studied together. Emily Houlik-Ritchey employs an innovative comparative methodology that integrates the understudied Castilian literary tradition with English literature. Intentionally departing from the standard “influence and transmission” approach, Imagining Iberia challenges that standard discourse with modes drawn from Neighbor Theory to reveal and navigate the relationships among three selected medieval romance traditions. This welcome volume uncovers an overemphasis in prior scholarship on the relevance of “crusading” agendas in medieval romance, and highlights the shared investments of Christians and Muslims in Iberia’s political, creedal, cultural, and mercantile networks in the Mediterranean world.
Immersion, Identification, and the Iliad explains why people care about this foundational epic poem and its characters. It represents the first book-length application to the Iliad of research in ...communications, literary studies, media studies, and psychology on how readers of a story or viewers of a play, movie, or television show find themselves immersed in the tale and identify with the characters. Immersed recipients get wrapped up in a narrative and the world it depicts and lose track to some degree of their real-world surroundings. Identification occurs when recipients interpret the storyworld from a character’s perspective, feel emotions congruent with those of a character, and/or root for a character to succeed. This volume situates modern research on these experiences in relation to ancient criticism on how audiences react to narratives. It then offers close readings of select episodes and detailed analyses of recurring features to show how the Iliad immerses both ancient and modern recipients and encourages them to identify with its characters. Accessible to students and researchers, to those inside and outside of classical studies, this interdisciplinary project aligns research on the Iliad with contemporary approaches to storyworlds in a range of media. It thereby opens new frontiers in the study of ancient Greek literature and helps investigators of audience engagement from antiquity to the present contextualize and historicize their own work.
Under the name satura, this volume examines a "monstrous" text tradition characterized by mixed forms and intertextual hypertrophy. In studies on authors like Lucilius, Varro, Horace, Petronius, ...Hamann, and Jean Paul, Sina Dell’Anno takes a new perspective on this tradition by focusing her attention on the notorious formlessness of satirical texts as the engine of her autophilological poetics.
