Suchergebnisse

Abstract
"Literature is Freedom", so endet Susan Sontags Dankrede zur Verleihung des Friedenspreises des Deutschen Buchhandels 2003. Worin gründet die Wirkmacht der Poesie, Freiräume des Denkens zu eröffnen, Lesern Grenzüberschreitungen der eigenen Zeit, der eigenen Identität, der eigenen Kultur zu ermöglichen und damit das Bewusstsein für gänzlich andere Vermessungen der Welt? Wie können Literaturwissenschaftler die Freiheit der Kunst und damit die Komplexität ästhetischer Erfahrungen verteidigen, angesichts der Reduzierung von Freiheitsgraden in den aktuellen Kulturkämpfen? Wie gelingt es zeitgenössischer politischer Dichtung, denen Gehör zu verschaffen, deren Unfreiheit nur die Konsequenz des rücksichtslosen Freiheitsanspruchs privilegierter Individuen und Nationen ist? Antworten darauf versucht der folgende Artikel in offener, aphoristischer Form – mit Hilfe poetologischer Überlegungen und exemplarischen Hinweisen zur Gegenwartslyrik, u.a. zu Gedichten von Don Mee Choi, Kateryna Kalytko, Mihret Kebede, Fiston Mwanza Mujila, Aleš Šteger, Carlos Soto-Román, Anja Utler, Uljana Wolf und Serhji Zhadan.

This book, first published in 1944, is a comprehensive survey of post-revolutionary Russian literature up to the early 1940s. A huge range of writers are examined, and the analysis is made in the knowledge of the sometimes considerable pressure brought by the Government on writers in Soviet Russia. Links are made by the author between the writers being assessed, as well as to the Russian writers that had come before them. As a wide-ranging analysis of Soviet literature, this book has rarely been bettered.

This book, first published in 1947, examines the truly vital and enduring qualities of the leading Russian writers, as literature and as interesting documents of phases of Russian history. This is one of the most striking features of Russian literature since Pushkin - it treated artistically social and political issues that in the more prosperous and stable Western world were dealt with through journalism, mainly. This book analyses Russian literature's propensity for providing reassurance and guidance to withstand the harsher elements of Russian society by examining some of its leading writers.

This paper begins by framing the concept of historical agency as a complex relationship between structural forces and individual actions. We then describe general features of historical fiction and consider ways of using this type of text in classrooms. Using the concept of historical agency, we examine three historical fiction texts for upper elementary or middle level readers (Roll of Thunder, Hear My Cry, The Fighting Ground, and Dragon's Gate). The analysis reveals the similarities and differences in the ways the authors construct historical agency. The paper concludes with a set of four key questions that teachers and students can apply to historical fiction to help students refigure the ways in which they construct knowledge about the past.

Despite the physical proximity of the birthplace of Subaltern Studies, South Asia, to the Middle East and despite the convergent, colliding histories of these two regions, scholars of the Middle East attend very little to the Subaltern Studies project or to the work of Subaltern Studies groups. Although certain stances of Fanon and Said, with their focus on cultural strategies of domination and resistance, have a currency in Middle Eastern studies, no literary theorist, folklorist, anthropologist, political scientist or historian in the field of Middle Eastern Studies, so far as I am aware, explicitly draws upon Subaltern Studies with any consistency as an organizing principle for his or her studies. It is the Latin Americanists (and to a lesser degree Africanists) who have been most eager to build on South Asian Subaltern Studies to respond to Latin American (or subsanaran African) circumstances. Perhaps it is time to take a closer look at what Subaltern Studies might contribute to Middle Eastern studies if we were to make a sustained effort to apply and critique that body of literature.

Cover -- Contents -- List of Illustrations -- Foreword -- Acknowledgements -- Notes on the Contributors -- Introduction -- Part I: Hunting and Consuming Animals -- 1 'Our sep'rate Natures are the same': Reading Blood Sports in Irish Poetry of the Long Eighteenth Century -- 2 Quick Red Foxes: Irish Women Write the Hunt -- 3 Dennis O'Driscoll's Beef with the Celtic Tiger -- 4 Porcine Pasts and Bourgeois Pigs: Consumption and the Irish Counterculture -- Part II: Gender, Sexuality, and Animals