Cerstin Bauer Funke Ordre des livres

SUSANNE FRIEDE (Göttingen) explores the role of automatons in 12th-century French texts. NICOLAS CASTIN (Paris) discusses the eloquent flesh, examining the mechanics of passions and language strategies in Marivaux's work. RUTH FLORACK (Stuttgart) analyzes the transformation of actors through play-automatons in the 18th century. KATHRIN ACKERMANN (Salzburg) questions if Xavier Boniface Saintine's tale, L’enfant du sorcier (1825), presents a French version of Frankenstein. CHRISTIANE SOLTE-GRESSER (Bremen) delves into Pinocchio, focusing on the doll's irrationality and cultural discontent. FLORIAN NELLE (Berlin) investigates the phantasm of the electrified body in L’Eve future and the electric chair at the Fin de Siècle. ANDREA OBERHUBER (Montréal) examines staging and self-representation in the works of the Contessa di Castiglione and Claude Cahun. ROLF LOHSE (Göttingen) contextualizes automatons within the realm of comedy. THOMAS STEIN (Bern) reflects on the illogical reasoning of the smoking man in Aldo Palazzeschi's Il Codice di Perelà. ANDREA GREWE (Osnabrück) contrasts 'true' creators with 'false' demiurges in Alberto Savinio's literary works. GIOVANNI NICOLI (Zürich) addresses the autonomy of the puppet woman in Tommaso Landolfi's La moglie di Gogol. INKE GUNIA (Hamburg) analyzes human figures in the narrative spaces of Juan Carlos Onetti. ALEXANDRA BEILHARZ (Berlin) focuses on the literary representation of obsessive tho