Bøger udgivet af Königshausen & Neumann

Plurale Autorschaften und Schwierigkeiten der Zuschreibung sind in den unterschiedlichsten historischen Kontexten zu finden: bei römischen Grabinschriften, im Theater der Shakespearezeit, in Künstler:innenkollektiven der Gegenwart, auf digitalen Plattformen für kreatives Schreiben und im Gebrauch von Tools wie ChatGPT. Dennoch sind griffige Konzepte für Formen der Zusammenarbeit,Zuarbeit und für gemeinsame kreative Aktivität in den Literatur-, Kunst- und Kulturwissenschaften gerade erst im Entstehen begriffen. Die Beiträge dieses Heftes nähern sich mit Konzepten pluraler Autorschaft stichprobenartig einigen Erscheinungsweisen, kulturellen Kontexten und Auswirkungen kollaborativer, verteilter, unsicherer oder mittelbarer Autorschaft an und diskutieren Prozesse des Fortschreibens und Zuschreibens.

In the scholarship specifically focused on Schopenhauer's philosophy,this book stands out due to a breadth and depth of knowledgenot found elsewhere in English or German texts. Its originality liesin its detailed portrayal of the lines of reception from Schopenhauerto Nietzsche, Deussen and Freud. First, it demonstrates convincinglyhow specific points in Nietzsche's philosophy were determined directlyby Schopenhauer's work. Second, the book provides the richestavailable account of Deussen's philosophical-religious project. Third,it argues meticulously for Schopenhauer's significant influence onFreud's thought. Freud did not reject completely or agree superficiallywith Schopenhauer, but endeavoured to carry forward and modify hispredecessor's ideas. The section on Freud is likely to have long-lastinginfluence within scholarly circles.Nietzsche scholars, intellectual historians with an interest in the nineteenthcentury, and Freud scholars will all find the book valuable. Additionally,specialists in Schopenhauer's philosophy and those interestedin the European reception of Indian thought and the history ofreligion in the nineteenth century will also read it with interest.

When one is poor and black, it is hard »to come into representation«(Hall, New Ethnicities 164). Those on the margins of society are usuallytalked and written about rather than given a voice of their own.Young black men in particular are stereotyped as criminal and violent,as dangerous threats to society. In this context the term >underclassunderclassblack youth< are scrutinised and challenged.Within the field of black British fiction, black >underclass< subjectivitiesseem to be somewhat overlooked in literary representations; andthey only appear on the margins of academic research. This study aimsat improving this situation by providing a comprehensive analysis ofthe representational strategies employed by the selected black Britishnovels as well as discussing the conditions under which black Britishauthors and their work are perceived and marketed by the publishingindustry. The analysis draws attention to the way in which structuralracism, classism and sexism impact protagonists and authors alike.

Multi-narratives are artifacts that juxtapose single narratives. This arrangement creates a productive tension within the artifact that is larger than the sum of its parts. Reading multi-narratives is a twofold process: first, distinct local narratives within a work often create disruption and incongruity. Second and at the same time, this heterogeneity invites a 'bringing together' or 'making sense of' the relationship among the constituent narratives. In several close-readings, this volume explores key aspects of such multi-narrative interplay in works by Kate Atkinson, Julian Barnes, Louise Erdrich, Jackie Kay, Richard McGuire, Cynthia Ozick and Lionel Shriver.

Annekatrin Babbe: »She had tradition at her fingers' ends« - Traditionsbildung um Clara Schumann - Beatrix Borchard: »Mein ganzes Empfinden war M i ß f a l l e n«.  Ästhetische Diskussionen in Briefen? - Gunther Braam: Eine wiederaufgefundene Fotografie von Clara und Robert Schumann - Anselm Eber: Bilder aus Wien. Clara Schumann und die Familie Fellinger - Timo Evers: Aspekte der gemeinsamen Kontrapunktstudien Clara und Robert Schumanns - Valerie Goertzen: Clara Schumann als Bach-Bearbeiterin und -Interpretin - Michael Heinemann: Zitternde Blätter aus dem Buch der Liebe. Zu Clara Schumanns Jucunde-Vertonungen op. 23 - Jelena Josic: Clara Schumann und Julius Stockhausen - Klaus Martin Kopitz: Plädoyer für eine Clara-Schumann-Gesamtausgabe - Jonathan Kregor: Clara Schumann in der amerikanischen Presse - Julia Lajta-Novak: Clara Schumann als Filmheldin - Gili Loftus: Communing with the Shadows of the Schumann-Piatti Circle: A Performer's Reflections on Reverential Playing and Reading Between the Lines - Carlos Lozano Fernandez: Konferenz bei Kaskel - Clara Wieck und die Familie Kaskel in Dresden - Kazuko Ozawa: Clara Schumann und ihre Schülerin Ilona Eibenschütz - Annegret Rosenmueller: »Wer mich kennt, kann ja denken, daß ich meinem Manne gern das schönste Denkmal gesetzt hätte«. Clara Schumann und die Schumann-Memorialtradition - Ekaterina Smyka: Clara Schumann und Carl Gottlieb Reißiger - Thomas Synofzik: Zur pianistischen Idiomatik in Clara Schumanns Kompositionen - Matthias Wendt: Ein C. Wieck-Tagebuch aus Dresden.

Both the United States and Canada are immigrant countries whose national mythologies and national identities have been the subject of much discussion - albeit for different reasons. Whereas the United States is famous for its various national myths and its strong national identity, Canada has for a long time been known for the contrary. Unlike their southern neighbors, Canadians were said to lack a common mythology and have for a long time struggled to define their national identity. Nevertheless, myths have played a decisive role in the construction of both national narratives. This book comparatively analyzes how national myths like the American Dream or the Canadian myth of survival have not only shaped the two profoundly different national identities but also the two unique multicultural ideals commonly known as the American melting pot and the Canadian multicultural mosaic. Individual national myths existing in the United States and Canada are investigated with a focus on their respective interdependencies with the two countries' approaches to their multiculturality. This book thus both juxtaposes the two North American mythologies and provides new insights into the interrelations of national myths and multiculturalism, answering questions such as »How has American exceptionalism contributed to the ideal of e pluribus unum?« or »How does Canada's myth of North relate to the country's self-image as a multicultural nation?«

Theatrical Event-Machines provides a theoretical approach to a populartheatrical form whose invaluable contribution to British theatrehas been underestimated so far. The book examines canonical Britishfarces published in the 1960s, 1970s, and 1980s and proposes that theaporetic conceptualisation of the event which makes a farce farcical isbest described by Jacques Derrida's notion of the event-machine. Thethree thematic chapters explore farcical eventfulness in relation to keyconcepts of both Poststructuralism and the theatre, namely genre, performance,and mediality. In addition to performing close readings ofplays written by Alan Ayckbourn, Michael Frayn, Joe Orton, and TomStoppard, the chapters discuss selected deconstructionist writings ofDerrida. The study shows that farce subverts genre conventions byundoing events, that it rehearses events to undermine the separationbetween an allegedly finalised text and imperfect performances, andthat it toys with media-induced presences and absences in order toscrutinise the power of the event. Theatrical Event-Machines illustrateshow the rise of Poststructuralism in the 1960s has influenced farce -and vice versa. What is more, the thorough analyses presented in thisstudy reveal the self-reflexivity and the meta-theatricality inherent infarce and its potential to enact theory.

The Theatre of Philip Ridley is one of the first monographs dealing withPhilip Ridley's entire dramatic oeuvre, including the plays writtenfor teenage and young adult audiences. The book's theoretical frameworkconvincingly suggests that Philip Ridley's plays are aesthetic representationsof accelerated globalization, urbanization, and humanatrocities. It not only offers readings of all major plays written by PhilipRidley in his three decades as a major British playwright but it also deliverssubstantial research reports on the relevant topics informing itsframework such as the relationship of theatre and globalization, socialacceleration, dystopian theatre and of course on Philip Ridley's dramaticoeuvre and impressive career. What makes The Theatre of PhilipRidley stand out is its end-to-end approach, meaning that it pays closeattention to the intricate relationship between content, dramatic form,and stage aesthetics in all of its readings. Using theories like HartmutRosa's social acceleration to support its view on the last three decadesof globalization, the book exclusively offers a distinction between hotand cold dystopian theatre. The book's three analytical chapters showto readers what is to be gained from this distinction and why it makessense to approach many of Ridley's plays with the analytical toolsetprovided by the idea of dystopian theatre.

Diese Monografie zeichnet Formen kultureller Selbst- und Fremdwahrnehmungin der englischsprachigen Literatur seit dem Beginn derFrühen Neuzeit nach. Als methodisches Gerüst dienen Überlegungendazu, welche Rolle konzeptuelle Metaphern und kulturelle Narrativebei der kulturellen Identitätsstiftung und -infragestellung spielenkönnen. Der inhaltliche Schwerpunkt der Untersuchungen liegt aufdem transatlantischen Raum, umfasst also sowohl die Literatur derBritischen Inseln als auch die der Vereinigten Staaten. Zu beobachtenist, dass der Kontakt mit überseeischen Kulturen zwar schon früh zurHerausbildung hegemonialer Diskurse führte, aber Autorinnen undAutoren ebenso zur kritischen Reflexion tradierter Werthaltungenund kultureller Praktiken anregte. Bereits Thomas Mores Utopia lässtsich im Sinne einer solchen Reaktion lesen. In den Blick genommenwerden neben den Werken namhafter Autorinnen und Autoren wieWilliam Shakespeare, Francis Bacon, Aphra Behn, Daniel Defoe, JonathanSwift, Herman Melville, Joseph Conrad, H.G. Wells, GeorgeOrwell und Aldous Huxley auch weniger bekannte Textzeugnisse ausvier Jahrhunderten.

Ilse Aichinger was born to a Jewish mother in Vienna in 1921. Prior to 1938 her Aunt Klara waited for the family in London, but only Ilse's twin sister, Helga, escaped on the last Kindertransport. Ilse remained. She survived, and published The Greater Hope in 1948. The novel reflects Ilse Aichinger's experience of anti-Semitism as young woman in Nazi Austria, and through her extraordinary use of language the author not only captures the horror and the humanity of that experience, but transcends it to offer a profound meditation on a greater hope, the metaphysical perspectives of which surpass the physical trajectories of devastation, deportation and death.Many authors have endeavoured to determine the sense and meaning of Aichinger's works, which are often considered complex and multi-layered. This may explain why one of Austria's most gifted authors has not yet received the international recognition she deserves.The Nachwort to this new translation casts fresh light on The Greater Hope through an original and in-depth analysis of interviews given by Aichinger throughout her life.