Werner Huber Livres

This volume seeks to put drama and its neglected mental dimension into the limelight. While narrative fiction with its intricate ways of rendering consciousness has been deemed an ideal playground for approaches of a cognitivist leaning, the dramatic genre has been all but ignored by cognitive literary studies. Providing insights into such drama-related issues as subject construction, interiority, performativity, empathy, reader manipulation and reception control, the contributions to this collection testify to the richness and variety of the cognitivist enterprise.

This collection explores the intricate connections between Ireland and Europe through various lenses. It delves into early literary depictions of the mythical Brasil Island, examines the influence of Rousseau on Maria Edgeworth's work, and discusses Oscar Wilde's role in shaping modernity in Hungary. The anthology also addresses Samuel Beckett's literary contributions in Paris and the complexities faced by the Irish Beat Generation in Franco's Spain. It analyzes how Irish writers depict the Spanish Civil War and reflects on the moral landscapes in Kate O’Brien’s "Mary Lavelle." Further, it investigates John Broderick's engagement with the French Catholic novel and compares John McGahern’s "The Leavetaking" with its French translation. The narratives of the Irish diaspora are scrutinized through the works of Deirdre Madden, Anne Devlin, and Nuala O’Faolain. Other essays focus on Banville's portrayal of Prague, the themes of exile and migration in contemporary Irish literature, and the evolution of the state’s role in Ireland. The volume also touches on Ireland's representation in nineteenth-century French journals, the intersection of modernity and music hall culture, and the sustained connections of the Irish diaspora in Europe. Finally, it discusses the teaching of Irish as a foreign language and the impact of the ‘Ireland in Schools’ Forum on educational curricula.

The articles collected in this volume have come out of the 18th international CDE conference (Vienna, 2009) and set out to examine how contemporary drama and theatre in English engage in the discourse of interculturality. Apart from autobiographically-oriented keynote lectures by playwrights Tanika Gupta and Simon Stephens these papers address the themes of interculturality and multiculturalism across a wide range of topics, ethnicities, and methodologies. They deal not only with the obvious themes of ethnic encounters and intercultural conflicts but also with issues of hybridity, globalisation, immigration, and the diaspora experience.

Irish Studies in Europe is a new series that aims to expand the scope of Irish Studies beyond literary analysis to encompass a wide range of cultural studies. It focuses on the island of Ireland, including both the Republic and Northern Ireland, as well as the Irish diaspora, exploring various aspects of society, history, culture, literature, the arts, and media. The series emphasizes a European perspective on Irish Studies, promoting "etic" approaches that provide a unique lens on native and local issues. This initiative aligns with the goals of The European Federation of Associations and Centres of Irish Studies (EFACIS), under which the series is published. The series includes diverse topics such as the contextual analysis of John Synge, collaborative voices in his work, the evolution of the contemporary first-person novel in Ireland, and narratives of violence in Jennifer Johnston's literature. It also addresses themes like the representation of women in Northern Ireland, historical perspectives on Ulster-Scots culture, and the visibility of the Irish in post-war Britain. Other contributions analyze media framing of sexual abuse and public representations of abortion referenda in Irish newspapers, reflecting on faith and responsibility in contemporary Ireland.

“Intermediality/Intermedialities” stands for the thematic and/or formal links between individual art forms (literature, music, painting, photography, film, television, the internet etc.) and thus constitutes a key concept for new critical parameters. In current debates, the term “the intermedial turn” is used alongside parallel designations for similar paradigmatic changes. While intermediality as a concept is rooted in interart studies, many contemporary phenomena in the arts and the media must also be considered against their background in popular culture. In order to increase critical awareness in this field, this volume demonstrates the wide spectrum of topical definitions which fall under the umbrella term of „intermedialities.“ Aus dem Inhalt: Simulation, Simulacra, and Postmodern Mythmaking in The Matrix Trilogy – Robbie Williams, Irony, and Englishness – Colin Firth as Mr. Darcy and after Mr. Darcy – The Nanny: An American Sitcom and the British Governess Novel – Audiobooks and Reception Aesthetics – Satanic and Occult Rock Music – Native American Cinema – Inducing Psychosis in American Psycho – Pictorial Memory in John Banville’s The Sea – The Zorro Figure as an Icon of Popular Culture – Bonus Material as Bogus Material in Blood Simple – Towards an Intermedial Definition of the Science Fiction Genre Via Soundtracks – Edgar Allan Poe and The Simpsons Episode of “The Raven”

This collection explores various themes in literature, focusing on self-reflexivity and its implications across different works. The introduction by C. Henke sets the stage by discussing the interplay of self-reflexivity and common sense in notable satirical texts. C. Goer examines the emergence of individuality through music in Wilhelm Heinse's narrative. H. Breuer analyzes John Keats’ "Ode to Autumn" as a piece of metapoetry, while H. Zapf delves into the intricate relationships of structure, chaos, and self-reference in Edgar Allan Poe's works. U. Böker investigates the theme of inarticulateness in the writings of Hawthorne, Hopkins, and Hofmannsthal. T. Fischer-Seidel discusses archetypal structures in Joyce’s "Ulysses," drawing on Aristotle and Frye. P. Freese addresses the challenges within fiction in Bernard Malamud’s "The Tenants." B. Hesse explores self-reflexivity in Nabokov’s "Pale Fire," and W. Huber critiques Samuel Beckett’s "Eleuthéria." L. Volkmann looks at identity in Hanif Kureishi's short stories, while P. Lenz examines reality in Conor McPherson’s "The Weir." A. Merbitz highlights self-reflexive elements in Nick Hornby’s "High Fidelity." A. Nünning defines and analyzes self-reflexive hybrid metagenres, and M. Middeke discusses contemporary British fiction's deep structures. A. H. Kümmel presents the concept of fractal identity, while M. Markus reflects on abbreviations in English and German names, and R. We

Subject: Volume 15 of Studien zur englischen Romantik contains the revised versions of papers delivered at the Ninth International Symposium of the German Society for English Romanticism, which was organised by the Chair of English Literature at Chemnitz University of Technology and which took place in Grimma, Saxony, in October 2001. Contents: Introduction – The Romantic Ideology Revisited – Romantic to Victorian: Transition and Terminology – Irish Romanticism and the Traumatic Paradigm – The Prison: An Unromantic Location – John Thelwall’s ‘Romantic’ Genres and National Myths – William Beckford’s Real and Imaginary Travels – Women Travel Writers of the Romantic Period – Coleridge and Wordsworth in Germany – P. B. Shelley’s Letters and the 18th-Century Epistolary Novel – Conflicting Sexualities in Mary Shelley’s Frankenstein – Byron’s Corsair an the Page and an the Stage – Wordsworth’s Visions and Revisions of the Middle Ages – Introducing a Bibliography Project: A Survey of Romantic Prose Fiction, 1830-34.