Böcker i Buchreihe Der Anglia / Anglia Book Series-serien

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.

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.

Die Studie untersucht, wie die lineare Kette sprachlicher Zeichen in Deskriptionssequenzen englischer Texte vor dem ,inneren Auge' des Rezipienten einen Vorstellungsraum konstituiert. Sie verbindet damit in neuartiger Weise Kategorien der Textlinguistik mit Ansatzen der Semantik und der Kognitiven Grammatik. Zudem werden Ergebnisse relevanter Nachbardisziplinen wie der Literatur- und Kunstwissenschaft sowie der Wahrnehmungs- und Gestaltpsychologie einbezogen. Auf der Basis eines Korpus von Textsorten mit hohen deskriptiven Anteilen, wie etwa Reisefuhrern oder geographischen Sachtexten, wird eine Taxonomie von prototypischen ,Blickfuhrungstypen' erarbeitet und anhand von zahlreichen exemplarischen Analysen sowie graphischen Darstellungen veranschaulicht. Diese Blickfuhrungstypen werden als spezifische Linearisierungsstrategien definiert, die auf bildschematischen Konfigurationen aus Trajektor und Landmarke beruhen. In diesem Kontext wird analysiert, inwiefern Lokalisierungsausdrucke sowohl durch grammatische und lexikalische Kohasion wie auch durch ortsdeiktische Situierungen zur Raumkonstitution beitragen. Von besonderem Interesse sind hierbei die textuellen Effekte und Funktionen, die aus der Blickfuhrung resultieren.

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.

Die Arbeit versteht sich zum einen als ein Beitrag zu gender studies, das heit, sie untersucht, auf welche Weise in Erziehungshandbuchern und Romanen des 18. Jahrhunderts Geschlechterrollen konstruiert werden. Sie hebt vor allem die Beteiligung von Autorinnen an der aufklarerisch-burgerlichen Diskussion um die Sozialisation der Frau und um die Rolle der Frau in der Gesellschaft heraus, einer Diskussion, innerhalb derer, vor allem im letzten Jahrzehnt des 18. Jahrhunderts, eine konservative und eine progressive moraldidaktische Position unterschieden werden konnen. Dabei zeigt sich, und dies ist das zweite Erkenntnisinteresse der Arbeit, da sich fiktionale Texte, im Unterschied zu nicht-fiktionalen, einer eindeutigen Zuordnung zu der einen oder anderen Position widersetzen; Quellen moraldidaktischer Ambiguitat sind Erzahlperspektive und Erzahlstruktur. Die fiktionalen Texte, in denen die beschriebene Diskussion gefuhrt wird, werden in der Arbeit als "e;weibliche Erziehungsromane"e; definiert. Damit ist zugleich das dritte Erkenntnisinteresse der Arbeit bezeichnet: Die Arbeit will bekannte Autorinnen wie Jane Austen oder Fanny Burney in einem literarischen Umfeld verorten, aus dem sie in der Vergangenheit oft isoliert worden sind; sie untersucht daher die intertextuellen Beziehungen zwischen den Romanen Burneys und Austens und denen unbekannterer Autorinnen wie Elizabeth Hamilton, Mary Hays und Jane West. Sie will so auch eine Phase in der Entwicklung des englischen Romans rehabilitieren, die ohne weiteres als eine Phase der "e;Feminisierung"e; bezeichnet werden kann.

Die Studie bearbeitet anhand der Themenverknupfung "e;Sexualitat und Tod"e; ein im engeren Sinne literaturwissenschaftliches, im weiteren Sinne kulturwissenschaftliches Problemfeld: das der Interdependenz literarischer und soziokultureller Phanomene im historischen Wandel. Den Untersuchungsbereich bildet die englische Kultur vom spaten 18. bis zum ausgehenden 19. Jahrhundert, bzw. die englische Schauer- und Sensationsliteratur dieser Zeit. Die Arbeit stellt aber auch allgemein die bisher umfassendste Behandlung der Themenverknupfung "e;Sexualitat und Tod"e; in Literatur und soziokulturellem Kontext dar. Methodisch geht die Untersuchung weit uber traditionelle Motivgeschichte hinaus und verbindet Ansatze des Strukturalismus (Jakobson, Lodge), der Soziologie (Parsons, Meyer/Ort), der Psychologie (Freud) und der Kulturtheorie (Bataille, Foucault). Inhaltlich untersucht sie zum einen die historischen Manifestationen und Wandlungen der Diskurse "e;Sexualitat"e; und "e;Tod"e;, und andererseits - in einem ausfuhrlichen textanalytischen Teil - literarische Werke von Horace Walpole, M.G. Lewis, Mary Shelley, John W. Polidori, Emily Bronte, Wilkie Collins, Sheridan Le Fanu, Oscar Wilde und Bram Stoker. Im Zuge der Analyse und Korrelation allgemein kultureller, gesellschaftlicher und literarischer Diskurse entwickelt die Arbeit u.a. ein Typenschema moglicher Themenverknupfungen, ein bipolares Modell soziokultureller Tabufunktionen und die literarhistorische Hypothese vom "e;Pendel der Verknupfungsmodi"e;.

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.

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.

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.

This book discovers the latent working of the theatre in British Romantic literature. It shows how two central writers, Wordsworth and Scott, were fascinated by theatre conceptions that could not be implemented on the British stage, and how they both addressed and practised this theatre in their own texts. The book works out the importance of the theatre both as a medium and as a discursive field to address aesthetic, political and epistemic questions around 1800. It proceeds to explore the failing implementation of this modern theatre in early dramas of Wordsworth and Scott and its continuing influence on their later works. Detailed analyses of Wordsworth's poetry and Scott's novels illustrate how both writers used the genres they chose to develop a specific form of textual theatre. Finally, the study shows how this theatre returned to the British stage to influence subsequent periods of theatre practice. This book, which also develops a new integrative model of intermediality, is relevant for everybody interested in British Romanticism or generally keen to learn about the fascinating relationship of literature and theatre.

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.

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.