Birgit Däwes Livres

B. Däwes / K. Baudemann: Teaching Native Literatures and Cultures in Europe: An Introduction - G. Vizenor: Standing Bear and Karl May: Authors of the Progressive Era - H. Lutz: Beyond Indianthusiasm, or: Why Teach a Canadian First Nation Author's Text in the EFL-Classroom? - Emma Lee Warrior's Compatriots - M. Moss: Native American Literature: From Creation Story to Pulitzer Prize - S. N. Meyer: Beware of Positive Images! Non-Native Revisionist Film Practice, Visual Literacy, Multicultural Literacy, and the EFL-Classroom - R. Watchman: Teaching & Contextualizing Indigenous Literatures: A Focus on Fourth World Literatures - E. M. Jensen: The Story of the Sámi: A Juxtaposition of an Encyclopedic and Narrative Mode of Telling

Since the turn of the 21st century, the landscape of television has decisively changed. Whereas seriality had been part and parcel of television entertainment since the 1940s, the past two decades have witnessed the rise of new technologies and increasingly “complex and elaborate forms” (Jason Mittell), with HBO and Netflix playing leading roles. Particularly in its manifold transgressions of political, social, and ethical boundaries, the contemporary American TV serial serves as both a laboratory for and diagnostic platform of current epistemes and ideological codes. In fifteen interdisciplinary perspectives from the United States and Europe, this volume provides a critical diagnosis of the genre’s politics of gender and ethnicity, difference, normativity and representational control. Contesting the popular term “quality TV,” ‘Transgressive Television’ provides original work on TV series as diverse as ‘Twin Peaks’, ‘The Sopranos’, ‘Breaking Bad’, ‘The Wire’, ‘House of Cards’, ‘Homeland’, and many others.

This volume explores the multi-faceted semantics of ecology in contemporary Indigenous theater and performance. It focuses on the ways in which Indigenous playwrights from North America and Oceania depict the human link with Nature in today's global age.

A decade after the terrorist attacks of September 11, 2001, over 160 novels by U. S.-American writers have re-enacted or revised the day we now call ‘9/11’. This study systematically charts the rich subgenre of Ground Zero Fiction by exploring its formal, structural, thematic, and functional dimensions. In a combination of typological survey and detailed analysis, both familiar texts (by Jonathan Safran Foer, Don DeLillo, or John Updike) and lesser-known approaches (by writers such as Karen Kingsbury, Laila Halaby, Nicholas Rinaldi, Helen Schulman, or Ronald Sukenick) are investigated for their specific engagements with contemporary history. The American 9/11 novel, this volume argues, not only provides a productive testing ground for narrative crisis management, but it serves as an exemplary twenty-first century interface between historical and fictional representation, between ethical and aesthetic responsibilities, and between national and transnational formations of identity.

Indigenous drama is at once the oldest and most innovative, the most heavily displaced and resistant American genre. Despite its increasing international presence over the past two decades, the field has so far been neglected by scholarship. This study seeks to chart the genre, in both the U. S. and Canada, by its contemporary manifestations from 1968 to 2004 and traces its historical entanglements in simulacral images and colonial surveillance. Placing particular emphasis on the fashioning of cultural identity, this approach situates Native theater in the larger framework of transnational methodologies. General questions of theatricality and representation are complemented by in-depth analyses of 25 plays by authors such as Hanay Geiogamah, Monica Charles, Gerald Vizenor, Spiderwoman Theater, Diane Glancy, Margo Kane, Tomson Highway, and Drew Hayden Taylor.