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Institut
- Anglistik (21) (entfernen)
Die Studie Writing (Against) Postmodernism: The Urban Experience in Contemporary North American Fiction- stützt sich auf drei Hauptthesen. Zunächst wird dargelegt, dass sich postmoderne theoretische Positionen hinsichtlich des Verlusts menschlicher Handlungsfähigkeit und der Unzuverlässigkeit der Sprache trotz ihrer Umstrittenheit dazu eignen, ein Zeitgeistphänomen der nordamerikanischen urbanen Mittel- und Oberklasse um die Jahrtausendwende zu beschreiben. Wie Writing (Against) Postmodernism zeigt, korrespondieren die Leben der Figuren in den untersuchten Romanen "- The Savage Girl- (Alex Shakar, 2001),- Look At Me- (Jennifer Egan, 2001),- Noise- (Russell Smith, 1998),- Glamorama- (Bret Easton Ellis, 1998),- Ditch (Hal Niedzviecki, 2001),- Manhattan Loverboy, and- Suicide Casanova- (Arthur Nersesian, 2000, 2002) " mit Ideen, wie sie von zeitgenössischen Theoretikern wie Frederic Jameson, Paul de Man, Jean Baudrillard oder Jacques Derrida vertreten oder hergeleitet werden. Die Studie nimmt zudem ausführlich zu theoretischen Debatten rund um die Postmoderne Stellung. Sie zeigt die argumentativen Unzulänglichkeiten postmoderner Positionen und ihrer Anwendungen auf und arbeitet Argumente für einen maßvollen Realismusbegriff sowie gegen die Tendenz heraus, "that extra edge of consciousness" (Raymond Williams), welches Menschen zum selbstbestimmten Handeln befähigt, allzu schnell zu verwerfen. In einem weiteren Schritt argumentiert die vorliegende Studie, dass die oben genannten Texte und ihre Figuren nicht nur Unzufriedenheit mit dem postmodernen Leben und dem postmodernen Text beschreiben, sondern dass sie einen Weg aus postmodernen Aporien andeuten, die anfangs als gegebene Realität erscheinen. In der Bewegung weg von postmodernen theoretischen Positionen und deren praktischen Konsequenzen können die Bücher als Reflex eines 'post-postmodernen' Diskurses in der kulturellen Produktion Nordamerikas gelesen werden.
Die Nobelpreisträgerin Toni Morrison, die ihren Romanen eine dezidiert auditive Qualität verleihen möchte, rekurriert in ihren Werken auf die Verwendung von Musik und Elementen des afroamerikanischen Vernakularen innerhalb verschiedener narrativer Ebenen. Meine Dissertation gliedert sich in folgende drei Haupt-teile: Zunächst wird die Darstellung einiger Charaktere als Musizierende oder Zuhörer thematisiert, die meist als Kommentar bezüglich der Handlung oder der Charaktere dient bzw. diese bisweilen auch unterminiert. Der Schwerpunkt des zweiten Teils liegt auf der Übertragung musikalischer Eigenschaften auf die Texte, die auf struktureller Ebene von musikalischen Mitteln wie Antiphonie, Rhythmus oder Improvisation Gebrauch machen und sich auch inhaltlich an Texte bekannter Spirituals oder Bluessongs anlehnen. Durch diese Kombination bindet Morrison ihre Romane enger an ihre afroamerikanischen Wurzeln. Im dritten Teil steht das Zusammenspiel zwischen Musik und vernakularen Traditionen des Geschichtenerzählens, des Zeugnisablegens und des Signifyings, also des im Rahmen des Afroamerikanischen typischen kreativen sprachlichen Umdeutens, im Vordergrund, welches Morrison zu einer modernen Hüterin afroamerikanischer Tradition macht.
As a target for condemnation, the thematic prevalence of racism in African American novels of satire is not surprising. In order to confront this vice in its shifting manifestations, however, the African American satirist has to employ special techniques. This thesis examines some of these devices as they occur in George Schuyler- Black No More, Charles Wright- The Wig, and Percival Everett- Erasure. Given the reciprocity of target and technique in the satiric context, close attention is paid to how the authors under study locate and interrogate racism in their narratives. In this respect, the significance of anti-essentialist Marxist criticism in Schuyler- Black No More and the author- portrayal of the society of his time as capitalist machinery is examined. While Schuyler is concerned with exposing the general socioeconomic workings of the 1920s from a Marxist perspective, Wright offers the reader perspective into how this oppressive machinery psychologically manipulates and corrupts the individual in the historic context of Lyndon B. Johnson- political vision of the Great Society. Everett then elaborates on the epistemological concern which is traceable in Wright- work and addresses the role media representation plays in manufacturing images and rigid categories that shape systematic racism. As such, the present study not only highlights the versatility of satire as a rhetorical secret weapon and thus ventures toward the idiosyncrasies of the African American novel of satire, it also makes an effort to trace the ever-changing face of racial discrimination.
This guide is meant to provide some initial bibliographical assistance to those who want to study the historical evolution of ecological thinking in Canada on the basis of poetry. A major theoretical assumption underlying this project is that literature gives privileged access to a nation's cultural memory. Even a cursory survey of Canadian literary history supplies ample evidence for the marked presence of ecological attitudes in Canada's mental history. The origin of these attitudes can be traced back to at least the 18th century. By way of generalising, one could argue that literature reflects, and provides subtle insights into, how both native Canadians and immigrant settlers have responded to their 'eco-sphere'. For many Canadian texts bear witness to a thematic preoccupation with the Canadian oikos-area (oikos signifying 'house' in a narrower sense but also 'habitat' in a wider), to which its inhabitants have established a meaningful relationship. No doubt, even a preliminary attempt to explore ecological attitudes in Canadian literature more systematically would be a multi-facetted and difficult task. One of the major practical problems that poses itself immediately is: Which texts could, and ought to be examined? For there are innumerous references to environmental attitudes and ideas in all literary genres -- also in a great many fictional texts, both traditional and contemporary. For the purpose of research and study it would be extremely helpful indeed, if there were comprehensive bibliographical aids that would enable us to approach, and familiarize ourselves with, all these texts more conveniently. But the challenge of collecting pertinent data of this general kind would have been far beyond my scope and resources. This is why the present guide limits its focus to poetry. The working hypotheses motivating this tentative compilation are: i. Poetry is a more ubiquitous literary genre than fiction and drama. According to available evidence, more writers seem to have tried out their skills on poetry than on fiction and drama. Therefore poetry is likely to mirror a greater variety of voices and sentiments. ii. Poems are still a relatively untapped source in the current discussion about the environment. However, a great many poetic texts lend themselves to supplying relevant arguments that could be used in various fields of action such as environmental ethics, evironmental education and, last but not least, conservation. iii. Apart from smaller pieces of the "nature writing" variety, poems dealing with nature and environmental issues are comparatively short, aiming as they do at a single focus and effect. This is why they can be opened up for critical inspection more easily than selected passages from, say, a novel, which would have to be related to the context of the whole work. iv. This guide attempts to direct the user's attention to poems that are accessible in anthologies. A strong argument for selecting poems from anthologies rather than from individual writers' collections is that the anthology editors are likely to have selected precisely those poems of whose appeal to their respective readerships they must have been thoroughly convinced. Thus the mere fact that a poem has been anthologized suggests that it can be considered an important element in the process of Canadian culture building. Therefore, the very poems that have been frequently anthologized could perhaps serve as special barometers of the Canadian ecological sensibility at a given historical moment.
My study attempts to illustrate the generic development of the family novel in the second half of the twentieth century. At its beginning stands a preliminary classification of the various types of family fiction as they are referred to in secondary literature, which is then followed by a definition of the family novel proper. With its microscopic approach to novels featuring the American family and its (post-)postmodern variations, my study marks a first step into as yet uncharted territory. Assuming that the family novel has emerged as a result of the twentieth century's emphasis on the modern nuclear family, focuses on the family as a gestalt rather than on a single protagonist, and is concerned with issues of social and cultural significance, this study examines how the family, its forms and its conflicts are functionalized for the respective author's cultural critique. From post-war to post-millennium, family novelists have sketched the American family in various precarious conditions, and their texts are critical assessments of contemporary socioeconomic and cultural conditions. My close reading of John Cheever's The Wapshot Chronicle (1957), Don DeLillo's White Noise (1985) and Jonathan Franzen's The Corrections (2001) intends to reveal, shared values as well as significant differences on a formal as well as on a thematic level. As my examination of the respective novel shows, authors react to social and cultural change with new functionalizations of the family in fiction. Unlike the general assumption of literary crticism, family novels do not approach new cultural developments in a conventional or even traditionalist manner. A comparison of White Noise with The Wapshot Chronicle demonstrates that DeLillo's postmodern family novel transcends the rather nostalgic perspective of Cheever's 1950s work. Similarly, Jonathan Franzen's fin de millennium family novel The Corrections holds a post-postmodern position, which can be aptly described by Franzen's own term 'tragical realism'. The significant changes and developments of the family novel in the past five decades demonstrate the need for a continuous reassessment of the genre, and in this respect, my study is merely a beginning.
Die vorliegende Arbeit setzt sich die Übertragung und Anwendung des pragma-semantischen Ansatzes der germanistischen Phraseologie auf die englische Sprache zum Ziel, wobei die beiden Konzepte des semantischen Mehrwerts und der Multifunktionalität als dominante Charakteristika im Mittelpunkt stehen. Dazu wird die Verwendung von Phraseologismen in einer bestimmten Textsorte - der englischsprachigen Werbung - untersucht. Ihre besondere Bedeutungsstruktur und ihre kommunikativen Funktionen prädestinieren Phraseologismen als effektvolles sprachliches Gestaltungsmittel für die kreative Verwendung in Texten der Medienwelt. Werbung als wesentlicher Bestandteil nationaler Alltags- und Medienkultur und Phraseologismen als in ihrer Ausprägung spezifisch kulturelle Phänomene weisen viele Gemeinsamkeiten auf, die sich bei beiden in Form von semantischem Mehrwert und Multifunktionalität äußern.
This study focuses on the representation of British South Asian identities in contemporary British audiovisual media. It attempts to answer the question, whether these identities are represented as hybrid, heterogeneous and ambivalent, or whether these contemporary representations follow in the tradition of colonial and postcolonial racialism. Racialised depictions of British South Asians have been the norm not only in the colonial but also in the postcolonial era until the rise of the Black British movement, whose successes have been also acknowledged in the field of representation. However these achievements have to be scrutinized again, especially in the context of the post 9/11 world, rising Islamophobia, and new forms of institutionalized discrimination on the basis of religion. Since the majority of British Muslims are of South Asian origin, this study tries to answer the question whether the marker of religious origin is racial belonging, i.e. skin colour, and old stereotypes associated with the racialised representation are being perpetuated into current depictions through an examination of the varied genre of popular audio visual media texts.
As the oldest genre in New Zealand literature written in English, poetry always played a significant role in the country's literary debate and was generally considered to be an indicator of the country's cultural advancement. Throughout the 20th century, the question of home, of where it is and what it entails, became a crucial issue in discussing a distinct New Zealand sense of identity and in strengthening its independent cultural status. The establishment of a national sense of home was thus of primary concern, and poetry was regarded as the cultural marker of New Zealand's independence as a nation. In this politically motivated cultural debate, the writing of women was only considered on the margin, largely because their writing was considered too personal and too intimately tied together with daily life, especially domestic life, as to be able to contribute to a larger cultural statement. Such criticism built on gender role stereotypes, like for instance women's roles as mothers and housewives in the 1950s. The strong alignment of women with the home environment is not coincidental but a construct that was, and still is, predominantly shaped by white patriarchal ideology. However, it is in particular women's, both Pakeha and Maori, thorough investigation into the concept of home from within New Zealand's society that bears the potential for revealing a more profound relationship between actual social reality and the poetic imagination. The close reading of selected poems by Ursula Bethell, Mary Stanley, Lauris Edmond and J.C. Sturm in this thesis reveals the ways in which New Zealand women of different backgrounds subvert, transcend and deconstruct such paradigms through their poetic imagination. Bethell, Stanley, Edmond and Sturm position their concepts of home at the crossroads between the public and the private realm. Their poems explore the correspondence between personal and national concerns and assess daily life against the backdrop of New Zealand's social development. Such complex socio-cultural interdependence has not been paid sufficient attention to in literary criticism, largely because a suitable approach to capturing the complexity of this kind of interconnectedness was lacking. With Spaces of Overlap and Spaces of Mediation this thesis presents two critical models that seek to break the tight critical frames in the assessment of poetic concepts of home. Both notions are based on a contextualised approach to the poetic imagination in relation to social reality and seek to carve out the concept of home in its interconnected patterns. Eventually, this approach helps to comprehend the ways in which women's intimate negotiations of home translate into moments of cultural insight and transcend the boundaries of the individual poets' concerns. The focus on women's (re)negotiations of home counteracts the traditionally male perspective on New Zealand poetry and provides a more comprehensive picture of New Zealand's cultural fabric. In highlighting the works of Ursula Bethell, Mary Stanley, Lauris Edmond and J.C. Sturm, this thesis not only emphasises their individual achievements but makes clear that a traditional line of New Zealand women's poetry exists that has been neglected far too long in the estimation of New Zealand's literary history.
The first part of this thesis offers a theoretical foundation for the analysis of Tolkien- texts. Each of the three fields of interest, nostalgia, utopia, and the pastoral tradition, are introduced in separate chapters. Special attention is given to the interrelations of the three fields. Their history, meaning, and functions are shortly elaborated and definitions applicable to their occurrences in fantasy texts are reached. In doing so, new categories and terms are proposed that enable a detailed analysis of the nostalgic, pastoral, and utopian properties of Tolkien- works. As nostalgia and utopia are important ingredients of pastoral writing, they are each introduced first and are finally related to a definition of the pastoral. The main part of this thesis applies the definitions and insights reached in the theoretical chapters to Tolkien- The Lord of the Rings and The Hobbit. This part is divided into three main sections. Again, the order of the chapters follows the line of argumentation. The first section contains the analysis of pastoral depictions in the two texts. Given the separation of the pastoral into different categories, which were outlined in the theoretical part, the chapters examine bucolic and georgic pastoral creatures and landscapes before turning to non-pastoral depictions, which are sub-divided into the antipastoral and the unpastoral. A separate chapter looks at the bucolic and georgic pastoral- positions and functions in the primary texts. This analysis is followed by a chapter on men- special position in Tolkien- mythology, as their depiction reveals their potential to be both pastoral and antipastoral. The second section of the analytical part is concerned with the role of nostalgia within pastoral culture. The focus is laid on the meaning and function of the different kinds of nostalgia, which were defined in the theoretical part, detectable in bucolic and georgic pastoral cultures. Finally, the analysis turns to the utopian potential of Tolkien- mythology. Again, the focus lies on the pastoral and non-pastoral creatures. Their utopian and dystopian visions are presented and contrasted. This way, different kinds of utopian vision are detected and set in relation to the overall dystopian fate of Tolkien- fictional universe. Drawing on the results of this thesis and on Terry Gifford- ecocritical work, the final chapter argues that Tolkien- texts can be defined as modern pastorals. The connection between Tolkien- work and pastoral literature made explicit in the analysis is thus cemented in generic terms. The conclusion presents a summary of the central findings of this thesis and introduces questions for further study.
1.The Discursive Construction of Black Masculinity: Intersections of Race, Gender, and Sexuality
1.1.The Plight of Black Men: A History of Lynchings and Castrations
1.2.The Discursive Construction of the Black Man as Otherrn
1.3.Black Corporeality and the Scopic Regime of Racism
2. Ralph Ellison's 'Invisible man'
2.1.Invisible Black Men: Between Emasculation and Hypermasculinityrn
2.2.Transcending Invisibility