Suchergebnisse

AbstractThis article considers the normative conceptions and images that contemporary German fiction authors associate with their own work. On the basis of twenty narrative interviews, the article examines the extent to which the different self-reflections of authors manifest themselves in subjective interpretations and literary practices, which in turn reflect the economic and social structure of the literary field. This study aims at an empirical reconstruction of typical notions of authorship.

In 1928 Hans Proesler, whom we shall meet in the course of this study, assumed the presidency, that is, became the Rector, of what can 1928 Hans Proesler, whom we shall meet in the course of thisbe described as the Niirnberg school of economics (Hochschule für Wirtschafts- und Sozialwissenschaften). The address he delivered on that occasion can properly serve as the starting point for my own presentation, for it dealt with German economic history, its development and problems. In his talk Proesler pointed out that it was the eighteenth-century enlightenment that opened the road to economic history by assigning to studies pointing in this direction a niche in the lecture hall of general cultural history. In Germany such men as Justus Möser, Gottfried Herder, and some members of the then-famous Göttingen school of historians, Schlözer, Gatterer, Heeren, von Anton, and Fischer, are considered by the historian of economic and social history as having stood at the cradle. Although German Romanticism had done much for historiography in general, its role for economic history was very limited. Romanticist historians were not primarily interested in things economic, although in the frame of legal and constitutional history on the one hand, and in connection with classical studies on the other, scholars of that period and the decades following made contributions to this field of knowledge. I might mention Savigny, Eich-horn, Waitz, Böckh, Otfried Müller, Mommsen; and a few minor figures, such as Hüllmann and Hannssen, even devoted themselves to special problems in the area, that is, financial and agrarian history, respectively. Georg von Below, the renowned German historian, treating Proesler's topic a few years before the latter, emphasized the contribution of the Prussian archivist, Georg Wilhelm von Raumer (1806-1856). Not only did the latter take an interest in matters economic but his ideas even tended toward what we would today call a materialistic interpretation of history.

Maulana Karenga ends the "Creative Production" chapter in Introduction to Black Studieswith a justifiable, negative critique of literature's modern lapse into types of detachment and personal gratification that are antithetical to the Black studies enterprise. Scholars have embraced this negative critique of the possibilities of literature to contribute to the problem-solving activities of the discipline. Karenga's critique is required study for the discipline as he issues a call for discourse "to provoke and expand the discussion, not to close or avoid it." This essay is a response, provoked by Karenga, that evaluates axiological and epistemological variables of the academy, the discipline of Black studies, and African culture that support the rescue of the literary in Black studies.

The New Feminist Literary Studies presents sixteen essays by leading and emerging scholars that examine contemporary feminism and the most pressing issues of today. The book is divided into three sections. This first section , 'Frontiers', contains essays on issues and phenomena that may be considered, if not new, then newly and sometimes uneasily prominent in the public eye: transfeminism, the sexual violence highlighted by #MeToo, Black motherhood, migration, sex worker rights, and celebrity feminism. Essays in the second section, 'Fields', specifically intervene into long-constituted or relatively new academic fields and areas of theory: disability studies, eco-theory, queer studies, and Marxist feminism. Finally, the third section, 'Forms', is dedicated to literary genres and tackles novels of domesticity, feminist dystopias, young adult fiction, feminist manuals and manifestos, memoir, and poetry. Together these essays provide new interventions into the thinking and theorising of contemporary feminism.