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This volume is the first to investigate temporalities, their
manifestations, passages, and negotiations in and of (lived and
imagined) crises-situations. Focusing on the affordances of form,
the volume explores the role of literature in responding to
temporalities in and of crises. Gathering essays by both renowned
and upcoming literary scholars and offering a wide range of
different methodological approaches, which connect to recent
advancements in ecocriticism, postcolonialism, and queer studies,
it will inform and inspire future studies in the field, both within
but also beyond Anglophone literary studies. Considering that the
current pandemic and ecological crises have profoundly changed (and
continue to change) concepts of time, this volume will remain
highly relevant and topical beyond the backdrop of COVID-19.
Examining a range of contemporary Anglophone texts, this book opens
up postcolonial and transcultural studies for discussions of
visuality and vision. It argues that the preoccupation with visual
practices in Anglophone literatures addresses the power of images,
vision and visual aesthetics to regulate cultural visibility and
modes of identification in an unevenly structured world. The
representation of visual practices in the imaginative realm of
fiction opens up a zone in which established orders of the sayable
and visible may be revised and transformed. In 12 chapters, the
book examines narrative fiction by writers such as Michael
Ondaatje, Derek Walcott, Salman Rushdie, David Dabydeen and
NoViolet Bulawayo, who employ word-image relations to explore the
historically fraught links between visual practices and the
experience of modernity in a transcultural context. Against this
conceptual background, the examination of verbal-visual relations
will illustrate how Anglophone fiction models alternative modes of
re-presentation that reflect critically on hegemonic visual regimes
and reach out for new, more pluralized forms of exchange.
The Handbook of Anglophone World Literatures is the first globally
comprehensive attempt to chart the rich field of world literatures
in English. Part I navigates different usages of the term 'world
literature' from an historical point of view. Part II discusses a
range of theoretical and methodological approaches to world
literature. This is also where the handbook's conceptualisation of
'Anglophone world literatures' - in the plural - is developed and
interrogated in juxtaposition with proximate fields of inquiry such
as postcolonialism, translation studies, memory studies and
environmental humanities. Part III charts sociological approaches
to Anglophone world literatures, considering their commodification,
distribution, translation and canonisation on the international
book market. Part IV, finally, is dedicated to the geographies of
Anglophone world literatures and provides sample interpretations of
literary texts written in English.
This collection offers an overview of British TV comedies, ranging
from the beginnings of sitcoms in the 1950s to the current boom of
'Britcoms'. It provides in-depth analyses of major comedies,
systematically addressing their generic properties, filmic history,
humour politics and cultural impact.
Bringing together innovative and internationally renowned experts,
this volume provides concise presentations of the main concepts and
cutting-edge research fields in the study of culture (rather than
the infinite multitude of possible themes). More specifically, the
volume outlines different models for the study of culture, explores
avenues for interdisciplinary exchange, assesses key concepts and
traces their travels across various disciplinary, historical and
national contexts. To trace the travelling of concepts means to map
both their transfer from one discipline, approach or culture of
research to another, and also to identify the transformations which
emerge through these processes of transfer. The volume serves to
show that working with (travelling) concepts provides a unique
strategy for research and research design which can open up a wide
range of promising perspectives for interdisciplinary exchange. It
offers an exemplary overview of an interdisciplinary and
international approach to the travelling concepts that organize,
structure and shape the study of culture. In doing so, the volume
serves to initiate a dialogue that exceeds disciplinary and
national boundaries and introduces a self-reflexive dimension to
the field, thus affording a recognition of how deeply disciplinary
premises and nation-specific research traditions affect different
approaches in the study of culture.
Bringing together innovative and internationally renowned experts,
this volume provides concise presentations of the main concepts and
cutting-edge research fields in the study of culture (rather than
the infinite multitude of possible themes). More specifically, the
volume outlines different models for the study of culture, explores
avenues for interdisciplinary exchange, assesses key concepts and
traces their travels across various disciplinary, historical and
national contexts. To trace the travelling of concepts means to map
both their transfer from one discipline, approach or culture of
research to another, and also to identify the transformations which
emerge through these processes of transfer. The volume serves to
show that working with (travelling) concepts provides a unique
strategy for research and research design which can open up a wide
range of promising perspectives for interdisciplinary exchange. It
offers an exemplary overview of an interdisciplinary and
international approach to the travelling concepts that organize,
structure and shape the study of culture. In doing so, the volume
serves to initiate a dialogue that exceeds disciplinary and
national boundaries and introduces a self-reflexive dimension to
the field, thus affording a recognition of how deeply disciplinary
premises and nation-specific research traditions affect different
approaches in the study of culture.
Taking as its point of departure Nelson Goodman's theory of symbol
systems as delineated in his seminal book "Ways of Worldmaking",
this volume gauges the possibilities and perspectives offered by
the worldmaking approach as a model for the study of culture. Its
main objectives are to explore the usefulness and scope of the
approach for the study of culture and to supplement Goodman's
philosophy of worldmaking with a number of complementary
disciplinary perspectives, literary and cultural approaches, and
new questions and applications. It focuses on three key issues or
concepts which illuminate ways of worldmaking and their
interdisciplinary relevance and ramifications, viz. (1) theoretical
approaches to ways of worldmaking, (2) the impact of media on ways
of worldmaking, and (3) narratives as ways of worldmaking. The
volume serves to demonstrate how specific media and narratives
affect the worlds that are created, and shows how these worlds are
established as socially relevant. It also illustrates the extent to
which ways of worldmaking are imbued with cultural values, and thus
inevitably implicated in power relations.
Taking as its point of departure Nelson Goodman's theory of symbol
systems as delineated in his seminal book "Ways of Worldmaking",
this volume gauges the possibilities and perspectives offered by
the worldmaking approach as a model for the study of culture. Its
main objectives are to explore the usefulness and scope of the
approach for the study of culture and to supplement Goodman's
philosophy of worldmaking with a number of complementary
disciplinary perspectives, literary and cultural approaches, and
new questions and applications. It focuses on three key issues or
concepts which illuminate ways of worldmaking and their
interdisciplinary relevance and ramifications, viz. (1) theoretical
approaches to ways of worldmaking, (2) the impact of media on ways
of worldmaking, and (3) narratives as ways of worldmaking. The
volume serves to demonstrate how specific media and narratives
affect the worlds that are created, and shows how these worlds are
established as socially relevant. It also illustrates the extent to
which ways of worldmaking are imbued with cultural values, and thus
inevitably implicated in power relations.
Examining a range of contemporary Anglophone texts, this book opens
up postcolonial and transcultural studies for discussions of
visuality and vision. It argues that the preoccupation with visual
practices in Anglophone literatures addresses the power of images,
vision and visual aesthetics to regulate cultural visibility and
modes of identification in an unevenly structured world. The
representation of visual practices in the imaginative realm of
fiction opens up a zone in which established orders of the sayable
and visible may be revised and transformed. In 12 chapters, the
book examines narrative fiction by writers such as Michael
Ondaatje, Derek Walcott, Salman Rushdie, David Dabydeen and
NoViolet Bulawayo, who employ word-image relations to explore the
historically fraught links between visual practices and the
experience of modernity in a transcultural context. Against this
conceptual background, the examination of verbal-visual relations
will illustrate how Anglophone fiction models alternative modes of
re-presentation that reflect critically on hegemonic visual regimes
and reach out for new, more pluralized forms of exchange.
This book discusses the complex ways in which the novel offers a
vibrant arena for critically engaging with our contemporary world
and scrutinises the genre's political, ethical, and aesthetic
value. Far-reaching cultural, political, and technological changes
during the past two decades have created new contexts for the
novel, which have yet to be accounted for in literary studies.
Addressing the need for fresh transdisciplinary approaches that
explore these developments, the book focuses on the multifaceted
responses of the novel to key global challenges, including
migration and cosmopolitanism, posthumanism and ecosickness, human
and animal rights, affect and biopolitics, human cognition and
anxieties of inattention, and the transculturality of terror. By
doing so, it testifies to the ongoing cultural relevance of the
genre. Lastly, it examines a range of 21st-century Anglophone
novels to encourage new critical discourses in literary studies.
This interdisciplinary series addresses the relation between media
and cultural memory. Its publications study how media construct,
store, and disseminate memory. The series' focus is on different
media and technologies, such as text and image, the cinema and the
new digital media, on transmediality, intermediality, and
remediation, as well as on the social (and increasingly
transnational and transcultural) contexts of mediated memory. The
aim of the series is to provide a vibrant international platform
for research and scholarly exchange in the field of media and
memory studies. Manuscripts submitted to the series are peer
reviewed by expert referees. The editors, Astrid Erll
(Goethe-Universitat Frankfurt am Main) and Ansgar Nunning
(Justus-Liebig-Universitat Giessen), are working with an
international editorial board of renowned scholars: Aleida Assmann
(Universitat Konstanz), Mieke Bal (University of Amsterdam), Vita
Fortunati (University of Bologna), Richard Grusin (University of
Wisconsin-Milwaukee), Udo Hebel (Universitat Regensburg), Andrew
Hoskins (University of Glasgow), Wulf Kansteiner (Binghamton
University), Alison Landsberg (George Mason University), Claus
Leggewie (Kulturwissenschaftliches Institut Essen), Jeffrey Olick
(University of Virginia), Susannah Radstone (University of South
Australia), Ann Rigney (Utrecht University), Michael Rothberg
(University of Illinois), Werner Sollors (Harvard University),
Frederic Tygstrup (University of Copenhagen), Harald Welzer
(Kulturwissenschaftliches Institut Essen) To learn more about the
series, also visit us at the MSA conference in Madrid, June 25 -
28, 2019.
The volume presents theoretical frameworks, conceptual explications
and concrete research perspectives in the subject area of 'Media of
collective memory.' Representatives of various disciplines examine
the manifestations, social functions, cultural differences and the
historical development of the media of memory from the 17th century
to the present day.
This book discusses the complex ways in which the novel offers a
vibrant arena for critically engaging with our contemporary world
and scrutinises the genre's political, ethical, and aesthetic
value. Far-reaching cultural, political, and technological changes
during the past two decades have created new contexts for the
novel, which have yet to be accounted for in literary studies.
Addressing the need for fresh transdisciplinary approaches that
explore these developments, the book focuses on the multifaceted
responses of the novel to key global challenges, including
migration and cosmopolitanism, posthumanism and ecosickness, human
and animal rights, affect and biopolitics, human cognition and
anxieties of inattention, and the transculturality of terror. By
doing so, it testifies to the ongoing cultural relevance of the
genre. Lastly, it examines a range of 21st-century Anglophone
novels to encourage new critical discourses in literary studies.
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