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The chapters collected in this volume shed light on the areas of
interaction between film studies and heavy metal research,
exploring how the audio-visual medium of film relates to, builds on
and shapes metal culture. At one end of the spectrum, metal music
serves as a form of ambient background in horror films that creates
an intense and somewhat threatening atmosphere; at the other end,
the high level of performativity attached to the metal spectacle is
emphasized. Alongside these tendencies, the recent and ongoing wave
of metal documentaries has taken off, relying on either satire or
hagiography.
The chapters collected in this volume shed light on the areas of
interaction between film studies and heavy metal research,
exploring how the audio-visual medium of film relates to, builds on
and shapes metal culture. At one end of the spectrum, metal music
serves as a form of ambient background in horror films that creates
an intense and somewhat threatening atmosphere; at the other end,
the high level of performativity attached to the metal spectacle is
emphasized. Alongside these tendencies, the recent and ongoing wave
of metal documentaries has taken off, relying on either satire or
hagiography.
Between the medieval conception of Christendom and the political
visions of modernity, ideas of Europe underwent a transformative
and catalytic period that saw a cultural process of renewed
self-definition or self-Europeanization. The contributors to this
volume address this process, analyzing how Europe was imagined
between 1450 and 1750. By whom, in which contexts, and for what
purposes was Europe made into a subject of discourse? Which forms
did early modern 'Europes' take, and what functions did they serve?
Essays examine the role of factors such as religion, history, space
and geography, ethnicity and alterity, patronage and dynasty,
migration and education, language, translation, and narration for
the ways in which Europe turned into an 'imagined community.' The
thematic range of the volume comprises early modern texts in
Arabic, English, French, German, Greek, Italian, Latin, and
Spanish, including plays, poems, and narrative fiction, as well as
cartography, historiography, iconography, travelogues, periodicals,
and political polemics. Literary negotiations in particular
foreground the creative potential, versatility, and agency that
inhere in the process of Europeanization, as well as a specifically
early modern attitude towards the past and tradition emblematized
in the poetics of the period. There is a clear continuity between
the collection's approach to European identities and the focus of
cultural and postcolonial studies on the constructed nature of
collective identities at large: the chapters build on the insights
produced by these fields over the past decades and apply them, from
various angles, to a subject that has so far largely eluded
critical attention. This volume examines what existing and
well-established work on identity and alterity, hybridity and
margins has to contribute to an understanding of the largely
un-examined and under-theorized 'pre-formative' period of European
identity.
This collection analyzes how narrative technique developed from the
late Middle Ages to the beginning of the 18th century. Taking
Chaucer's influential Middle English works as the starting point,
the original essays in this volume explore diverse aspects of the
formation of early modern prose narratives. Essays focus on how a
sense of selfness or subjectivity begins to establish itself in
various narratives, thus providing a necessary requirement for the
individuality that dominates later novels. Other contributors
investigate how forms of intertextuality inscribe early modern
prose within previous traditions of literary writing. A group of
chapters presents the process of genre-making as taking place both
within the confines of the texts proper, but also within
paratextual features and through the rationale behind cataloguing
systems. A final group of essays takes the implicit notion of the
growing realism of early modern prose narrative to task by
investigating the various social discourses that feature ever more
strongly within the social, commercial, or religious dimensions of
those texts. The book addresses a wide range of literary figures
such as Chaucer, Wroth, Greene, Sidney, Deloney, Pepys, Behn, and
Defoe. Written by an international group of scholars, it
investigates the transformations of narrative form from medieval
times through the Renaissance and the early modern period, and into
the eighteenth century.
This collection analyzes how narrative technique developed from the
late Middle Ages to the beginning of the 18th century. Taking
Chaucer's influential Middle English works as the starting point,
the original essays in this volume explore diverse aspects of the
formation of early modern prose narratives. Essays focus on how a
sense of selfness or subjectivity begins to establish itself in
various narratives, thus providing a necessary requirement for the
individuality that dominates later novels. Other contributors
investigate how forms of intertextuality inscribe early modern
prose within previous traditions of literary writing. A group of
chapters presents the process of genre-making as taking place both
within the confines of the texts proper, but also within
paratextual features and through the rationale behind cataloguing
systems. A final group of essays takes the implicit notion of the
growing realism of early modern prose narrative to task by
investigating the various social discourses that feature ever more
strongly within the social, commercial, or religious dimensions of
those texts. The book addresses a wide range of literary figures
such as Chaucer, Wroth, Greene, Sidney, Deloney, Pepys, Behn, and
Defoe. Written by an international group of scholars, it
investigates the transformations of narrative form from medieval
times through the Renaissance and the early modern period, and into
the eighteenth century.
Heavy metal has developed from a British fringe genre of rock music
in the late 1960s to a global mass market consumer good in the
early twenty-first century. Early proponents of the musical style,
such as Black Sabbath, Deep Purple, Judas Priest, Saxon, Uriah Heep
and Iron Maiden, were mostly seeking to reach a young male
audience. Songs were often filled with violent, sexist and
nationalistic themes but were also speaking to the growing sense of
deterioration in social and professional life. At the same time,
however, heavy metal was seriously indebted to the legacies of
blues and classical music as well as to larger literary and
cultural themes. The genre also produced mythological concept
albums and rewritings of classical poems. In other words, heavy
metal tried from the beginning to locate itself in a liminal space
between pedestrian mass culture and a rather elitist adherence to
complexity and musical craftsmanship, speaking from a subaltern
position against the hegemonic discourse. This collection of essays
provides a comprehensive and multi-disciplinary look at British
heavy metal from its beginning through The New Wave of British
Heavy Metal up to the increasing internationalization and
widespread acceptance in the late 1980s. The individual chapter
authors approach British heavy metal from a textual perspective,
providing critical analyses of the politics and ideology behind the
lyrics, images and performances. Rather than focus on individual
bands or songs, the essays collected here argue with the larger
system of heavy metal music in mind, providing comprehensive
analyses that relate directly to the larger context of British life
and culture. The wide range of approaches should provide readers
from various disciplines with new and original ideas about the
study of this phenomenon of popular culture.
Heavy metal has developed from a British fringe genre of rock music
in the late 1960s to a global mass market consumer good in the
early twenty-first century. Early proponents of the musical style,
such as Black Sabbath, Deep Purple, Judas Priest, Saxon, Uriah Heep
and Iron Maiden, were mostly seeking to reach a young male
audience. Songs were often filled with violent, sexist and
nationalistic themes but were also speaking to the growing sense of
deterioration in social and professional life. At the same time,
however, heavy metal was seriously indebted to the legacies of
blues and classical music as well as to larger literary and
cultural themes. The genre also produced mythological concept
albums and rewritings of classical poems. In other words, heavy
metal tried from the beginning to locate itself in a liminal space
between pedestrian mass culture and a rather elitist adherence to
complexity and musical craftsmanship, speaking from a subaltern
position against the hegemonic discourse. This collection of essays
provides a comprehensive and multi-disciplinary look at British
heavy metal from its beginning through The New Wave of British
Heavy Metal up to the increasing internationalization and
widespread acceptance in the late 1980s. The individual chapter
authors approach British heavy metal from a textual perspective,
providing critical analyses of the politics and ideology behind the
lyrics, images and performances. Rather than focus on individual
bands or songs, the essays collected here argue with the larger
system of heavy metal music in mind, providing comprehensive
analyses that relate directly to the larger context of British life
and culture. The wide range of approaches should provide readers
from various disciplines with new and original ideas about the
study of this phenomenon of popular culture.
The Ethics of Survival in Contemporary Literature and Culture
delves into the complex problems involved in all attempts to
survive. The essays analyze survival in contemporary prose
narratives, short stories, poems, dramas, and theoretical texts,
but also in films and other modes of cultural practices. Addressing
diverse topics such as memory and forgetting in Holocaust
narratives, stories of refugees and asylum seekers, and
representations of war, the ethical implications involved in
survival in texts and media are brought into a transnational
critical discussion. The volume will be of potential interest to a
wide range of critics working on ethical issues, the body, and the
politics of art and literature.
Between the medieval conception of Christendom and the political
visions of modernity, ideas of Europe underwent a transformative
and catalytic period that saw a cultural process of renewed
self-definition or self-Europeanization. The contributors to this
volume address this process, analyzing how Europe was imagined
between 1450 and 1750. By whom, in which contexts, and for what
purposes was Europe made into a subject of discourse? Which forms
did early modern 'Europes' take, and what functions did they serve?
Essays examine the role of factors such as religion, history, space
and geography, ethnicity and alterity, patronage and dynasty,
migration and education, language, translation, and narration for
the ways in which Europe turned into an 'imagined community.' The
thematic range of the volume comprises early modern texts in
Arabic, English, French, German, Greek, Italian, Latin, and
Spanish, including plays, poems, and narrative fiction, as well as
cartography, historiography, iconography, travelogues, periodicals,
and political polemics. Literary negotiations in particular
foreground the creative potential, versatility, and agency that
inhere in the process of Europeanization, as well as a specifically
early modern attitude towards the past and tradition emblematized
in the poetics of the period. There is a clear continuity between
the collection's approach to European identities and the focus of
cultural and postcolonial studies on the constructed nature of
collective identities at large: the chapters build on the insights
produced by these fields over the past decades and apply them, from
various angles, to a subject that has so far largely eluded
critical attention. This volume examines what existing and
well-established work on identity and alterity, hybridity and
margins has to contribute to an understanding of the largely
un-examined and under-theorized 'pre-formative' period of European
identity.
In the first fifteen years of the twenty-first century, a large
number of films were produced in Europe, Israel, the United States,
and elsewhere addressing the historical reality and the legacy of
the Holocaust. Contemporary Holocaust cinema exists at the
intersection of national cultural traditions, aesthetic
conventions, and the inner logic of popular forms of entertainment.
It also reacts to developments in both fiction and documentary
films following the innovations of a postmodern aesthetic. With the
number of witnesses to the atrocities of Nazi Germany dwindling,
medialized representations of the Holocaust take on greater
cultural significance. At the same time, visual responses to the
task of keeping memories alive have to readjust their value systems
and reconsider their artistic choices. Both established directors
and a new generation of filmmakers have tackled the ethically
difficult task of finding a visual language to represent the past
that is also relatable to viewers. Both geographical and spatial
principles of Holocaust memory are frequently addressed in original
ways. Another development concentrates on perpetrator figures,
adding questions related to guilt and memory. Covering such diverse
topics, this volume brings together scholars from cultural studies,
literary studies, and film studies. Their analyses of
twenty-first-century Holocaust films venture across national and
linguistic boundaries and make visible various formal and
intertextual relationships within the substantial body of Holocaust
cinema.
Novel horizons analyses how narrative prose fiction developed
during the English Restoration. It argues that after 1660, generic
changes within dramatic texts occasioned an intense debate within
prologues and introductions. This discussion about the poetics of a
genre was echoed in the paratextual material of prose fictions. In
the absence of an official poetics that defined prose fiction,
paratexts ful filled this function and informed readers about the
budding genre. This study traces the piecemeal development of these
boundaries and describes the generic competence of readers through
the analysis of paratexts and prose fictions. Novel horizons covers
the surviving textual material widely, focusing on narrative prose
fictions published between 1660 and 1710. In addition to tracing
the paratextual poetics of Restoration fiction, this book also
covers the state of the art of fiction-writing during the period,
discussing character development, narrative point of view and
questions of fictionality and realism. -- .
The Ethics of Survival in Contemporary Literature and Culture
delves into the complex problems involved in all attempts to
survive. The essays analyze survival in contemporary prose
narratives, short stories, poems, dramas, and theoretical texts,
but also in films and other modes of cultural practices. Addressing
diverse topics such as memory and forgetting in Holocaust
narratives, stories of refugees and asylum seekers, and
representations of war, the ethical implications involved in
survival in texts and media are brought into a transnational
critical discussion. The volume will be of potential interest to a
wide range of critics working on ethical issues, the body, and the
politics of art and literature.
In the first fifteen years of the twenty-first century, a large
number of films were produced in Europe, Israel, the United States,
and elsewhere addressing the historical reality and the legacy of
the Holocaust. Contemporary Holocaust cinema exists at the
intersection of national cultural traditions, aesthetic
conventions, and the inner logic of popular forms of entertainment.
It also reacts to developments in both fiction and documentary
films following the innovations of a postmodern aesthetic. With the
number of witnesses to the atrocities of Nazi Germany dwindling,
medialized representations of the Holocaust take on greater
cultural significance. At the same time, visual responses to the
task of keeping memories alive have to readjust their value systems
and reconsider their artistic choices. Both established directors
and a new generation of filmmakers have tackled the ethically
difficult task of finding a visual language to represent the past
that is also relatable to viewers. Both geographical and spatial
principles of Holocaust memory are frequently addressed in original
ways. Another development concentrates on perpetrator figures,
adding questions related to guilt and memory. Covering such diverse
topics, this volume brings together scholars from cultural studies,
literary studies, and film studies. Their analyses of
twenty-first-century Holocaust films venture across national and
linguistic boundaries and make visible various formal and
intertextual relationships within the substantial body of Holocaust
cinema.
Popular culture in the German-speaking world has reacted in
numerous ways to the demands of contemporary life, combining
century-old traditions but also addressing current political and
social debates. The essays collected in this volume offer case
studies of popular fiction, theatre, hip-hop and rock music, events
like the love parade, as well as describe new developments in
documentary filmmaking. Read individually or as a whole, the
chapters provide a detailed analysis of both the current issues in
popular culture and the legacy of popular art forms throughout the
twentieth century.
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