Böcker 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.

Even though the literary trope of the flâneur has been proclaimed 'dead' on several occasions, it still proves particularly lively in contemporary Anglophone fiction. This study investigates how flânerie takes a belated 'ethical turn' in its more recent manifestations by negotiating models of ethical subjectivity. Drawing on Michel Foucault's writings on the 'aesthetics of existence' as well as Judith Butler's notion of precariousness as conditio humana, it establishes a link between post-sovereign models of subject formation and a paradoxical constellation of flânerie, which surfaces most prominently in the work of Walter Benjamin. By means of detailed readings of Ian McEwan's Saturday, Siri Hustvedt's The Blindfold, Teju Cole's Open City, Dionne Brand's What We All Long For and Robin Robertson's The Long Take, Or a Way to Lose More Slowly, this book traces how the ambivalence of flânerie and its textual representation produces ethical norms while at the same time propagating the value of difference by means of disrupting societal norms of sameness. Precarious Flânerie and the Ethics of the Self in Contemporary Anglophone Fiction thus shows that the flânerie text becomes a medium of ethical critique in post-postmodern times.

Twentieth-Century Metapoetry and the Lyric Tradition reveals the unique value of metapoems for exploring twentieth-century poetry. By placing these texts into a hitherto barely investigated literary-historical perspective, it demonstrates that modern metapoetry is steeped in the lyric tradition to a much greater extent than previously acknowledged. Since these literary continuities that cut across epochal boundaries can be traced across all major poetic movements, they challenge established accounts of the history of twentieth-century poetry that postulate a radical break with the (immediate) past. Moreover, the finding that metapoems perpetuate traditional forms and topoi distinguishes metapoetry historically and systematically from metafiction and metadrama. After highlighting the most important differences as regards to the function of metareference in poetry on the one side, and in fiction and drama on the other, the book concludes with a discussion of how to account for these generic differences theoretically. With its "e;extraordinarily subtle and perceptive"e; (Ronald Bush, St. John's College, Oxford) interpretive readings of over one hundred metapoems by canonical anglophone authors, it offers the first representative selection of twentieth-century poems about poetry in English.

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.

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.

Pool was an avant-garde group that originated in 1927 in Britain and was active under this name until 1933. The group consisted of the well-known modernist poet H.D., the English writer Bryher, and the young Scottish writer and artist Kenneth Macpherson. All three were first and foremost writers, who at one point discovered film as another modern, experimental medium of artistic expression. Pool associated with almost all the iconic modernists of their time, with Ezra Pound, Gertrude Stein, Ernest Hemmingway, James Joyce, Marianne Moore, William Carlos Williams, T.S. Eliot, and Virginia Woolf, to name only a few. In addition, due to their interest in film, they were also befriended with such influential filmmakers as Sergei Eisenstein and Georg Wilhelm Pabst, and became closely associated with Weimar Berlin film culture.Pool unites classical Modernism and modernity, two directions that are usually considered to be contradictory. The Pool phenomenon opens a new perspective onto Modernism and prompts a reconsideration of its canonical texts and figures. Contrary to many artists of Modernism, who devised highly individualistic aesthetic styles, the artists of Pool strove towards a universal art of humanity that was rooted in all-human nature and psychology.

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 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.

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.

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.