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Rüdiger Görner: Sprachrausch und Sprachverlust. Essays zur österreichischen Literatur von Hofmannsthal; bis Mayröcker
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The Window. Motif and Topos in Austrian, German and Swiss Art and Literature
No full textWindows – those thinner patches in the external skins of buildings that function as both barrier and channel between the individual and the outside world. They structure the facades of buildings and hence our everyday environment. They display articles of desire, technological progress and economic growth and so reveal new departures in style, aspiration and attitudes to the individual. Through the built environment in which we live, windows even function as building blocks of our personal identity. This volume illustrates how an item so central to our everyday life comes to govern aesthetic discourses concerned with openness and knowledge. It also identifies how, in the German cultural context, the literature, art and architecture of different epochs exploit the window's potential as both physical portal and metaphor for human interconnectedness, self-perception and the transcendence of the self
Reluctant Autofictionalists: Early Twenty-First-Century French and German Experiments with the Autofiction Genre
Full text linkThis thesis comprises six case studies of the twenty-first-century French and German autofictional novel by the authors Amélie Nothomb, Felicitas Hoppe, Michel Houellebecq, Thomas Meinecke, Clemens J. Setz, and Anne F. Garréta and Jacques Roubaud. This study is concerned with novels which, although they might not fully conform to the autofiction genre, are clearly aware of and respond to many of the same concerns with which the genre engages or which it raises. Significantly, while none of these texts adopt quite the same approach to genre subversion, they can all be read as experimentations with the autofiction genre, with the various aims of affirming or critiquing it, or drawing attention to related concerns regarding contemporary (first-person) narrative conventions and storytelling. Precisely because autofiction is experiencing a surge in popularity, on the one hand, and because it is a genre that, despite its inherent difficulties in terms of reception, is often approached by readers in quite a careless, biographical manner, on the other, it lends itself as a genre through which contemporary authors may explore newer developments in novelistic genres and contemporary forms of storytelling more broadly. As my close readings and engagement with relevant theories of autofiction, genre, and narratology will show, these novels demonstrate an extreme self-awareness and self-consciousness with regards to their generic status and engage in explicit or implicit dialogue with autofiction and genre theory. They make use of postmodern tools such as metafictionality and extremely complex associative narrative structures in order to subvert both the autofictional character's authority and the reader's expectations. However, as this thesis argues, these novels are not representative of an entirely new genre or literary era, even though the more experimental and open-ended texts in the latter half of this study gesture toward potential changes in the future, as influenced by models of digital textuality
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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