Offers readings of key contemporary trends and themes in the vibrant genre of short-story writing in Germany, Austria, and Switzerland, with attention to major practitioners and translations of two representative stories. Since the 1990s, the short story has re-emerged in the German-speaking world as a vibrant literary genre, serving as a medium for both literary experimentation and popular forms. Authors like Judith Hermann and Peter Stamm have had a significant impact on German-language literary culture and, in translation, on literary culture in the UK and USA. This volume analyzes German-language short-story writing in the twenty-first century, aiming to establish a framework for further research into individual authors as well as key themes and formal concerns. An introduction discusses theories of the short-story form and literary-aesthetic questions. A combination of thematic and author-focused chapters then discuss key developments in the contemporary German-language context, examining performance and performativity, Berlin and crime stories, and the openendness, fragmentation, liminality, and formal experimentations that characterize short stories in the twenty-first century. Together the chapters present the rich field of short-story writing in Germany, Austria, and Switzerland, offering a variety of theoretical approaches to individual stories and collections, as well as exploring connections with storytelling, modernist short prose, and the novella. The volume concludes with a survey of broad trends, and three original translations exemplifying the breadth of contemporary German-language short-story writing.

Featuring chapters from an international range of leading and emerging scholars, this Handbook provides a collection of cutting-edge, interdisciplinary research that sheds new light on contemporary futures studies. Engaging with key defining questions of the early twenty-first century such as climate change, big data, AI, the future of economics, education, mental health, cities and more, the Handbook provides a review and synthesis of futures scholarship, highlighting the role that societies can and should play in their making. While the various chapters demonstrate how futures emerge and take shape in particular places at particular times, the distinctive insight provided by the volume overall is that futures thinking today must be social and contextual. By presenting a range of futures work from contexts around the globe, the Handbook contextualizes techniques – forecasting, backcasting, scenario planning, collaboration and co-production– to ask how different dimensions of the social are created and circulated in the process. Through its thirty chapters, the volume explores and interrogates narratives, anticipations, enactments, ecologies, collaborations, prospections and so on to highlight which versions of the social are legitimized and which are encouraged and foreclosed. This Handbook opens an important conversation about the centrality of the social in futures thinking. By bringing arts, humanities and social sciences scholars and practitioners into conversation with biologists, environmental, climate and computer scientists, this volume seeks to encourage new pathways across, between and within multiple disciplines to interrogate the futures we need and want. The social must be our starting point if we are to steer our planet in a direction that supports good lives for the many, everywhere.

Featuring chapters from an international range of leading and emerging scholars, this Handbook provides a collection of cutting-edge, interdisciplinary research that sheds new light on contemporary futures studies. Engaging with key defining questions of the early twenty-first century such as climate change, big data, AI, the future of economics, education, mental health, cities and more, the Handbook provides a review and synthesis of futures scholarship, highlighting the role that societies can and should play in their making. While the various chapters demonstrate how futures emerge and take shape in particular places at particular times, the distinctive insight provided by the volume overall is that futures thinking today must be social and contextual. By presenting a range of futures work from contexts around the globe, the Handbook contextualizes techniques - forecasting, backcasting, scenario planning, collaboration and co-production- to ask how different dimensions of the social are created and circulated in the process. Through its thirty chapters, the volume explores and interrogates narratives, anticipations, enactments, ecologies, collaborations, prospections and so on to highlight which versions of the social are legitimized and which are encouraged and foreclosed. This Handbook opens an important conversation about the centrality of the social in futures thinking. By bringing arts, humanities and social sciences scholars and practitioners into conversation with biologists, environmental, climate and computer scientists, this volume seeks to encourage new pathways across, between and within multiple disciplines to interrogate the futures we need and want. The social must be our starting point if we are to steer our planet in a direction that supports good lives for the many, everywhere.

In Pop-Feminist Narratives, Emily Spiers explores the recent phenomenon of 'pop-feminism' and pop-feminist writing across North America, Britain, and Germany. Pop-feminism is characterised by its engagement with popular culture and consumerism; its preoccupation with sexuality and transgression in relation to female agency; and its thematisation of intergenerational feminist discord, portrayed either as a damaging discursive construct or as a verifiable phenomenon requiring remediation. Central to this volume is the question of theorising the female subject in a postfeminist neoliberal climate and the role played by genre and narrative in the articulation of contemporary pop-feminist politics. The heightened visibility of mainstream feminist discourse and feminist activism in recent years-especially in North America, Britain, and Germany-means that the time is ripe for a coherent comparative scholarly study of pop-feminism as a transnational phenomenon. This volume provides such an account of pop-feminism in a manner which takes into account the varied and complex narrative strategies employed in the telling of pop-feminist stories across multiple genres and platforms, including pop-literary fiction, the popular 'guide' to feminism, film, music, and the digital.

The original essays in Oxford Twenty-First Century Approaches to Literature mean to provoke rather than reassure, to challenge rather than codify. Instead of summarizing existing knowledge, scholars working in the field aim at opening fresh discussion; instead of emphasizing settled consensus they direct their readers to areas of enlivened and unresolved debate. Booksellers, authors, and academics have been talking about world literature since Goethe made the term fashionable in the early nineteenth century. Yet amidst all the talk of books that 'circulate' and literature as a kind of universal property that can function as a 'window on the world', how do we account for the people who live in real places, and who write, translate, market, and read the texts that travel on these global journeys? World Authorship breaks new ground by showing how to bring together the real-world contexts of authorship with the literary worlds of fiction. Written by world-leading academics and creative professionals including authors, translators, publishers, editors, prize jurors, and literary festival organizers, World Authorship updates Michael Foucault's 'author function' by significantly expanding the network of people and practices involved in literature. It covers keyword aspects of world authorship, grounding them in the study of actual literary texts to illuminate how literature is shared and made in different parts of the world and at different times in history. At the heart of all contributions, however, is one key question: where is the human element in world literature? By covering everything from 'Beginnings' to 'Voice', World Authorship provides the answer.