Suchergebnisse

Seit geraumer Zeit lässt sich eine Neuorientierung in den kultur- und sozialwissenschaftlichen Debatten um Migration, Kulturkontakt, Imperialismus und Globalisierung feststellen, in denen der Begriff der Diaspora eine zentrale Rolle spielt. Die diasporische Situation - das (Über-)Leben als ethnische oder kulturelle Gemeinschaft in der Fremde - erweist sich als Paradigma der globalisierten Welt. Der Begriff der Diaspora gestattet, sich globalen Phänomenen in Gesellschaft, Kultur und Literatur zuzuwenden, die sich einer nationalstaatlichen Zuordnung entziehen, obwohl sie durch das Vokabular und die Denkmodelle, die für die Beschreibung des Nationalstaats entwickelt wurden, mitgeprägt sind. Die Diaspora situiert sich im Spannungsfeld zwischen kosmopolitischer Losgelöstheit und einem radikalen Nationalismus, der sich nicht länger territorial definiert. In diesem Band soll der Begriff in seinen unterschiedlichen Dimensionen und in seiner Bedeutung für die aktuelle kultur- und sozialwissenschaftliche Debatte vorgestellt und diskutiert werden.

This paper will be concerned with the special affordances of periodical writing, taking the modernist little magazine The Masses as its example. This magazine was instrumentally involved in promoting sexual liberation and 'sex radicalism' in the United States of the 1910s, and I argue that the – contracted, serial, and contingent – structure of periodical publishing had an incisive impact on the ways in which the magazine responded to and transfigured the contemporary rhetoric of sexology. Focusing on the enactment of non-normative sexualities in the little magazine, I aim to show that the iterative and kaleidoscopic form of presentation yields effects that are different from the aesthetics of queer modernism as manifest in the 'closed' literary forms of the episodic novel or the short story collection. I will cast a close look at Floyd Dell's writing in the magazine to argue my case, and end with a reflection on (the publication history of) Sherwood Anderson's 'Hands'.

The American film serial of the 1920s is a particularly underresearched cinematic format. This article investigates the genre's "time politics" in close regard to its serial structure, focusing on two popular detective serials of the period. The serials are aware of and reflect upon their own position in a longer history of cinematic storytelling (including a decade of serials), and they also respond to the larger cinematic and extracinematic context of the day, which is heavily imbued with the forces of standardization and serialization. The detective serial, as the most popular genre of the format, epitomizes this serial creativity. It can thus be seen as an exemplary instrument in a larger apparatus of modernist contingency management. ; This is a pre-copyedited version of an article accepted for publication in (The Velvet Light Trap 79, Spring 2017 following peer review. The definitive publisher-authenticated version is available from University of Texas Press

This paper explores the logic and aesthetics of seriality in its close conjunction with the structures of media modernity. It starts from the observation that to a substantial extent modern popular culture is serial culture. Its contention is that an investigation of the operative principles of popular seriality and their larger ideological parameters requires a set of instruments which are missing from the toolbox of popular culture studies. In consequence, it draws on theories of seriality which were formulated in the realm of political philosophy and social theory, by critics as diverse as Benedict Anderson or Jean-Paul Sartre, in order to discuss processes of ideological meaning-making and community formation in their serial dimension. The paper takes note of the fact that the expansive momentum of serial fiction is fueled by the resources of political, economic, and medial expansion, which were first developed in the nineteenth and then ramped up in the twentieth century. This interlinkage is not conceptualized in terms of a mere analogy, however, but rather understood as a relation of mutual mapping: a relation of reciprocity and cross-fertilization. Taking the eminently popular narratives around the serial figures Fu Manchu and Fantômas as case studies, the paper argues that the projects of popular serial narration do not only aim at a representation of the abstract processes of industrialization and global capitalism rooted in nineteenth century imperialism. They rather need to be seen as engines, as driving forces of the cycles of production and dissemination which inform the (late) capitalist ideologies of the modern industrial and media societies. --- urn:nbn:de:hbz:6:3-20130513150526637-1779334-7

This essay explores the workings of popular seriality with respect to the evolution of an ideologically fraught serial figure – Fu Manchu. It focuses on the function of iconicity in this context, taking its point of departure from the pre-Code film The Mask of Fu Manchu of 1932. The film features Boris Karloff in the title role and forges Fu Manchu's iconic image several decades after the figure's literary inception and ensuing crossmedial gestation. I shall investigate the interrelated processes of serialization and iconization by probing the film's 'image power' – its employment of intense visual arrangements and melodramatic tableaux which explode the individual film's diegesis yet figure as nodal instances of serial concatenation. To illustrate the serial dynamics of this development, the essay will finally turn to the popular film serial Drums of Fu Manchu (1940), which improvised freely on the film of 1932, drawing heavily not only on the plotline mapped out almost ten years before, but also on the film's suspense management and narrative structure. Combining various approaches to seriality and the serial, ranging from popular culture studies, semiotics, film studies, to political theory, I argue that powerful ideological figurations (such as the imagery of the yellow peril) are serial in nature.

"Between 1880 and 1920, newspapers, magazines, and journals figured as the most important media for the public discussion of current events, as central nodes for the circulation of mass entertainments, and as windows into bustling art scenes. Periodicals thus presented themselves as crucial media for the negotiation and implementation of cultural modernization processes. Modernity and the Periodical Press explores this privileged role of the periodical press and focuses in particular on the often-neglected intersections between mass print culture and the practices of literary and artistic avant-gardes. In doing so, the volume examines a variety of materials that are shaped by the formats and themes of the periodical press, including Modernist little magazines, mass-marketed scrapbooks, advertising campaigns, comics, and more"--

Frontmatter --Inhalt --Erzählen, Wissen und kleine Formen. Eine Einleitung /Gamper, Michel / Mayer, Ruth --Wechselwirkungen von Erzählen und Wissen in kurzen Prosaformen der Frühen Neuzeit am Beispiel des Apophthegmas /Jäger, Maren --Erzählen als "bloß andeutender Fingerzeig". Brevitas, Sprachverknappung und die Logik des Bildlichen in Karl Philipp Moritz' Signatur des Schönen /Firges, Janine --"Infusions-Ideechen" und "Pfennigs-Wahrheiten". Inventio(n), Ordnung und Erzählung des ,kleinen Wissens' bei G.Ch. Lichtenberg /Mengaldo, Elisabetta --Rätsel kurz erzählen. Der Fall Kleist /Gamper, Michael --Augenblicksbilder. Kurznachrichten und die Tradition der faits divers bei Kleist, Fénéon und Kluge /Homberg, Michael --Kuriose und kurze Nachrichten. Berichte über Vergiftungen in wissenschaftlichen Zeitschriften um 1850 /Wahrig, Bettina --Vom "Kurz-Gesagten" im "Lang-Gedachten". Friedrich Nietzsches Aphorismus-Kataloge als zyklisch-serielles Erzählnetzwerk /Gwozdz, Patricia A. --Loos lesen. Kleine Geschichte(n) der modernen Architektur /Arburg, Hans-Georg von --Wie erzählt man vom Augenblick? Präsenzeffekte, Serialität und "Zeit-Wissen" in Gertrude Steins frühen literarischen Portraits /Schäfer, Heike --Professionelle Kondensierung. Die Annotation als Wissensformat im Catalog der American Library Association, 1893-1926 /Starre, Alexander --Clipästhetik in der Industriemoderne. Das frühe Kino und der Zwang zur Kürze /Mayer, Ruth --"I dub thee Vampiris". Zur wissenschaftlichen Erklärung im Horrorfilm der 1950er Jahre /Stoff, Heiko --Kurz und knapp? Oder doch komplex? Wissen in Formeln /Gronau, Magdalena --Nach der Paranoia. Don DeLillos Spiel mit der kurzen Form /Bieger, Laura --Kurz & souverän. Twittern als sozioliterarische Praxis /Paßmann, Johannes --Micro Movies. Zur medialen Miniatur des Smartphone-Films /Gotto, Lisa --Snap! /Rentemeister, Elke --Autorinnen und Autoren