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A Cognitive Approach
An important aspect of narrative motivation is emotional understanding. The sequence of events completes an emotional cadence in the audience, which makes narratives meaningful for them. In this regard, negative emotions have an outstanding role. Based on general emotion-theories, positive emotions support approaching action tendencies while negative emotions endorse distancing and avoiding. However, this notion is not valid for aesthetic reception, because as research shows, aesthetic objects eliciting negative emotions greatly attract recipients and increase the intensity of the aesthetic experience. In aesthetic experience, it seems, negative emotions interweave with pleasure; moreover, they can be a source of pleasure. The studies of this volume discuss the role of negative emotions in the reception of fictional narratives with special interest to fear and disgust.
A Cognitive Approach
An important aspect of narrative motivation is emotional understanding. The sequence of events completes an emotional cadence in the audience, which makes narratives meaningful for them. In this regard, negative emotions have an outstanding role. Based on general emotion-theories, positive emotions support approaching action tendencies while negative emotions endorse distancing and avoiding. However, this notion is not valid for aesthetic reception, because as research shows, aesthetic objects eliciting negative emotions greatly attract recipients and increase the intensity of the aesthetic experience. In aesthetic experience, it seems, negative emotions interweave with pleasure; moreover, they can be a source of pleasure. The studies of this volume discuss the role of negative emotions in the reception of fictional narratives with special interest to fear and disgust.
Raynal et ses doubles
Editor:
Pierino Gallo
Le statut polygraphique et la structure hétérogène de l’Histoire des deux Indes invitent à réexaminer les méthodes et les stratégies employées par les rédacteurs, et amènent à lire le texte dans une double perspective : celle dictée par la tradition historiographique et celle suggérée, en parallèle, par les intrusions du discours philosophique. C’est ce dernier aspect que tâchent d’interroger les études ici réunies, en mettant l’accent sur le recyclage des sources et le croisement des voix textuelles (ce qui finit par « mettre en scène » une pluralité de visions sur les thématiques traitées), sur les phénomènes rhétoriques utilisés par les auteurs (apostrophes, commentaires, dialogues fictifs et apartés), et/ou sur les figures qui marquent la narration d’une polyphonie subjective.
The polygraphic status and the heterogeneous structure of the Histoire des deux Indes invite us to re-examine the methods and strategies employed by the editors, and lead us to read the text from a double perspective: that dictated by the historiographical tradition and that suggested, in parallel, by the intrusions of philosophical discourse. It is this latter aspect that the articles gathered here attempt to examine, focusing on the recycling of sources and the crossing of textual voices (which ends up "staging" a plurality of visions on the themes treated), on the rhetorical phenomena used by the authors (apostrophes, commentaries, fictitious dialogues and asides), and/or on the figures that mark the narrative with a subjective polyphony.
The polygraphic status and the heterogeneous structure of the Histoire des deux Indes invite us to re-examine the methods and strategies employed by the editors, and lead us to read the text from a double perspective: that dictated by the historiographical tradition and that suggested, in parallel, by the intrusions of philosophical discourse. It is this latter aspect that the articles gathered here attempt to examine, focusing on the recycling of sources and the crossing of textual voices (which ends up "staging" a plurality of visions on the themes treated), on the rhetorical phenomena used by the authors (apostrophes, commentaries, fictitious dialogues and asides), and/or on the figures that mark the narrative with a subjective polyphony.
Raynal et ses doubles
Editor:
Pierino Gallo
Le statut polygraphique et la structure hétérogène de l’Histoire des deux Indes invitent à réexaminer les méthodes et les stratégies employées par les rédacteurs, et amènent à lire le texte dans une double perspective : celle dictée par la tradition historiographique et celle suggérée, en parallèle, par les intrusions du discours philosophique. C’est ce dernier aspect que tâchent d’interroger les études ici réunies, en mettant l’accent sur le recyclage des sources et le croisement des voix textuelles (ce qui finit par « mettre en scène » une pluralité de visions sur les thématiques traitées), sur les phénomènes rhétoriques utilisés par les auteurs (apostrophes, commentaires, dialogues fictifs et apartés), et/ou sur les figures qui marquent la narration d’une polyphonie subjective.
The polygraphic status and the heterogeneous structure of the Histoire des deux Indes invite us to re-examine the methods and strategies employed by the editors, and lead us to read the text from a double perspective: that dictated by the historiographical tradition and that suggested, in parallel, by the intrusions of philosophical discourse. It is this latter aspect that the articles gathered here attempt to examine, focusing on the recycling of sources and the crossing of textual voices (which ends up "staging" a plurality of visions on the themes treated), on the rhetorical phenomena used by the authors (apostrophes, commentaries, fictitious dialogues and asides), and/or on the figures that mark the narrative with a subjective polyphony.
The polygraphic status and the heterogeneous structure of the Histoire des deux Indes invite us to re-examine the methods and strategies employed by the editors, and lead us to read the text from a double perspective: that dictated by the historiographical tradition and that suggested, in parallel, by the intrusions of philosophical discourse. It is this latter aspect that the articles gathered here attempt to examine, focusing on the recycling of sources and the crossing of textual voices (which ends up "staging" a plurality of visions on the themes treated), on the rhetorical phenomena used by the authors (apostrophes, commentaries, fictitious dialogues and asides), and/or on the figures that mark the narrative with a subjective polyphony.
Was ist überhaupt ein Glücksritter? Was ist ein Abenteurer oder eine Abenteurerin? Und wie erzählt man deren Geschichten? Der vorliegende Band dokumentiert Antworten, die im Umfeld der Forschungsgruppe „Philologie des Abenteuers“ auf solche Fragen gefunden wurden.
Es werden aufschlussreiche Stationen aus der Geschichte der Abenteuerliteratur beleuchtet. Anhebend mit der innovativen Figur des mittelalterlichen Ritters, der freiwillig in die Fremde zieht, um dort sein Glück zu finden – Reichtum, sozialer Status, erotische Erfüllung –, schlägt die Ringvorlesung einen großen historischen Bogen, der über die Übersteigerungen und parodistischen Brechungen der frühen Neuzeit, über Vagabunden und Entdecker bis zu Alltagsabenteurern und den invertierten Helden Kafkas führt.
Es werden aufschlussreiche Stationen aus der Geschichte der Abenteuerliteratur beleuchtet. Anhebend mit der innovativen Figur des mittelalterlichen Ritters, der freiwillig in die Fremde zieht, um dort sein Glück zu finden – Reichtum, sozialer Status, erotische Erfüllung –, schlägt die Ringvorlesung einen großen historischen Bogen, der über die Übersteigerungen und parodistischen Brechungen der frühen Neuzeit, über Vagabunden und Entdecker bis zu Alltagsabenteurern und den invertierten Helden Kafkas führt.
Risiko und Erzählstruktur
Was ist überhaupt ein Glücksritter? Was ist ein Abenteurer oder eine Abenteurerin? Und wie erzählt man deren Geschichten? Der vorliegende Band dokumentiert Antworten, die im Umfeld der Forschungsgruppe „Philologie des Abenteuers“ auf solche Fragen gefunden wurden.
Es werden aufschlussreiche Stationen aus der Geschichte der Abenteuerliteratur beleuchtet. Anhebend mit der innovativen Figur des mittelalterlichen Ritters, der freiwillig in die Fremde zieht, um dort sein Glück zu finden – Reichtum, sozialer Status, erotische Erfüllung –, schlägt die Ringvorlesung einen großen historischen Bogen, der über die Übersteigerungen und parodistischen Brechungen der frühen Neuzeit, über Vagabunden und Entdecker bis zu Alltagsabenteurern und den invertierten Helden Kafkas führt.
Es werden aufschlussreiche Stationen aus der Geschichte der Abenteuerliteratur beleuchtet. Anhebend mit der innovativen Figur des mittelalterlichen Ritters, der freiwillig in die Fremde zieht, um dort sein Glück zu finden – Reichtum, sozialer Status, erotische Erfüllung –, schlägt die Ringvorlesung einen großen historischen Bogen, der über die Übersteigerungen und parodistischen Brechungen der frühen Neuzeit, über Vagabunden und Entdecker bis zu Alltagsabenteurern und den invertierten Helden Kafkas führt.
Volume Editor:
Franc Schuerewegen
Vous ne lisez pas les notes en bas de page ? Vous avez tort. Rien de plus passionnant qu’une note infrapaginale, ou marginale, ou finale car il est vrai que nos dispositifs d’annotation sont divers. Souvent c’est la note qui contient l’essentiel. C’est alors par elle qu’il faut commencer. Nous distinguons entre le texte et le paratexte mais le paratexte est aussi une autre sorte de texte. Une « frange d’incertitude » (Genette) nous permet de passer d’un régime à l’autre. Les choses deviennent intéressantes à ce moment. Imaginez la note à la place du texte, le texte à la place de la note. Votre univers bascule, vous entrez dans un monde parallèle. La littérature est le lieu où la frontière entre le texte et les notes devient indécidable. Le présent volume passe en revue les pratiques d’annotation en contexte européen et ailleurs. Il offre au lecteur une riche série « d’études de cas » où le geste de l’annotateur est observé in actu. Parmi les auteurs étudiés : Balzac, Chateaubriand, Eliot, Mallarmé, Nabokov, Proust, Rimbaud, Oliver Rolin, et bien d’autres.
You don’t read footnotes? You are mistaken. There’s nothing more passionate than a footnote, a sidenote, or an endnote. The essential part of the message is the footnote. Narratologists distinguish between texte and paratexte, but the paratexte is just a different kind of texte. A frange d’incertitude (Genette) allows one to switch from one system to another. Imagine the note in the position of the text and the text in the position of the note. Your universe switches: you enter into a parallel world. Literature is the place where the border between the text and the notes becomes undecidable. The current volume reviews annotation practices in and outside of the European context. It offers a substantial series of “case studies” to the reader, where the actions of the annotateur are observed in actu. Among the studied authors: Balzac, Chateaubriand, Eliot, Mallarmé, Nabokov, Proust, Rimbaud, Oliver Rolin, and many others.
Avec des contributions de / With contributions from Anikó Ádám, Emmanuel Bouju, Maria de Jesus Cabral, Riccardo Campi, Ana Paula Coutinho, Andrea Del Lungo, Karen Haddad, Vincent Jouve, Fatima Outereirinhou, Claude Perez, Marika Piva, Nathalie Roelens, Franc Schuerewegen.
You don’t read footnotes? You are mistaken. There’s nothing more passionate than a footnote, a sidenote, or an endnote. The essential part of the message is the footnote. Narratologists distinguish between texte and paratexte, but the paratexte is just a different kind of texte. A frange d’incertitude (Genette) allows one to switch from one system to another. Imagine the note in the position of the text and the text in the position of the note. Your universe switches: you enter into a parallel world. Literature is the place where the border between the text and the notes becomes undecidable. The current volume reviews annotation practices in and outside of the European context. It offers a substantial series of “case studies” to the reader, where the actions of the annotateur are observed in actu. Among the studied authors: Balzac, Chateaubriand, Eliot, Mallarmé, Nabokov, Proust, Rimbaud, Oliver Rolin, and many others.
Avec des contributions de / With contributions from Anikó Ádám, Emmanuel Bouju, Maria de Jesus Cabral, Riccardo Campi, Ana Paula Coutinho, Andrea Del Lungo, Karen Haddad, Vincent Jouve, Fatima Outereirinhou, Claude Perez, Marika Piva, Nathalie Roelens, Franc Schuerewegen.
Volume Editor:
Franc Schuerewegen
Vous ne lisez pas les notes en bas de page ? Vous avez tort. Rien de plus passionnant qu’une note infrapaginale, ou marginale, ou finale car il est vrai que nos dispositifs d’annotation sont divers. Souvent c’est la note qui contient l’essentiel. C’est alors par elle qu’il faut commencer. Nous distinguons entre le texte et le paratexte mais le paratexte est aussi une autre sorte de texte. Une « frange d’incertitude » (Genette) nous permet de passer d’un régime à l’autre. Les choses deviennent intéressantes à ce moment. Imaginez la note à la place du texte, le texte à la place de la note. Votre univers bascule, vous entrez dans un monde parallèle. La littérature est le lieu où la frontière entre le texte et les notes devient indécidable. Le présent volume passe en revue les pratiques d’annotation en contexte européen et ailleurs. Il offre au lecteur une riche série « d’études de cas » où le geste de l’annotateur est observé in actu. Parmi les auteurs étudiés : Balzac, Chateaubriand, Eliot, Mallarmé, Nabokov, Proust, Rimbaud, Oliver Rolin, et bien d’autres.
You don’t read footnotes? You are mistaken. There’s nothing more passionate than a footnote, a sidenote, or an endnote. The essential part of the message is the footnote. Narratologists distinguish between texte and paratexte, but the paratexte is just a different kind of texte. A frange d’incertitude (Genette) allows one to switch from one system to another. Imagine the note in the position of the text and the text in the position of the note. Your universe switches: you enter into a parallel world. Literature is the place where the border between the text and the notes becomes undecidable. The current volume reviews annotation practices in and outside of the European context. It offers a substantial series of “case studies” to the reader, where the actions of the annotateur are observed in actu. Among the studied authors: Balzac, Chateaubriand, Eliot, Mallarmé, Nabokov, Proust, Rimbaud, Oliver Rolin, and many others.
Avec des contributions de / With contributions from Anikó Ádám, Emmanuel Bouju, Maria de Jesus Cabral, Riccardo Campi, Ana Paula Coutinho, Andrea Del Lungo, Karen Haddad, Vincent Jouve, Fatima Outereirinhou, Claude Perez, Marika Piva, Nathalie Roelens, Franc Schuerewegen.
You don’t read footnotes? You are mistaken. There’s nothing more passionate than a footnote, a sidenote, or an endnote. The essential part of the message is the footnote. Narratologists distinguish between texte and paratexte, but the paratexte is just a different kind of texte. A frange d’incertitude (Genette) allows one to switch from one system to another. Imagine the note in the position of the text and the text in the position of the note. Your universe switches: you enter into a parallel world. Literature is the place where the border between the text and the notes becomes undecidable. The current volume reviews annotation practices in and outside of the European context. It offers a substantial series of “case studies” to the reader, where the actions of the annotateur are observed in actu. Among the studied authors: Balzac, Chateaubriand, Eliot, Mallarmé, Nabokov, Proust, Rimbaud, Oliver Rolin, and many others.
Avec des contributions de / With contributions from Anikó Ádám, Emmanuel Bouju, Maria de Jesus Cabral, Riccardo Campi, Ana Paula Coutinho, Andrea Del Lungo, Karen Haddad, Vincent Jouve, Fatima Outereirinhou, Claude Perez, Marika Piva, Nathalie Roelens, Franc Schuerewegen.
Volume Editors:
Sjef Houppermans, Manet van Montfrans, Annelies Schulte Nordholt, Sabine van Wesemael, and Nell de de Hullu-van Doeselaar
Ce volume comporte un dossier sur la thématique du rire dans À la recherche du temps perdu. Toutes sortes de procédés rhétoriques, de multiples collusions avec le destinataire, un discours nourri de plaisir et d’intentions caustiques, donnent à cette dimension une place de première importance. Ironie raffinée qui subtilise les perspectives, satire mordante ou subreptice, burlesque caricatural et grotesque scabreux, humour bonhomme ou raillerie polissonne, moquerie ou sarcasme, toutes les nuances du rire, du plus léger au gros calibre, se rencontrent tout au long de l’apprentissage de ‘Marcel’.
This volume includes a major section on the theme of laughter in the Recherche. Various rhetorical processes, many collusions with the recipient, a discourse nourished with pleasure and caustic intentions, make that this dimension plays a prominent role. Sophisticated irony that subtilises the perspectives, harsh or subreptitious satire, caricatural burlesque and scabrous grotesque, good humour or rascally moquerie, sarcasm or derision, we encounter all kinds and variants of laughter, from the most gentle to its extremely furious manifestations, throughout the apprenticeship of ‘Marcel’.
Avec des contributions de/contributors: Paul Aron; Dominique Defer; Nell de Hullu-van Doeselaar; Karen Haddad; Sjef Houppermans; Didier Hurson; Mathieu Jung; Bérengère Moricheau-Airaud; Anne-Aël Ropars; Thanh-Vân Ton That; Manet van Montfrans; Ruud Verwaal; Philippe Willemart.
This volume includes a major section on the theme of laughter in the Recherche. Various rhetorical processes, many collusions with the recipient, a discourse nourished with pleasure and caustic intentions, make that this dimension plays a prominent role. Sophisticated irony that subtilises the perspectives, harsh or subreptitious satire, caricatural burlesque and scabrous grotesque, good humour or rascally moquerie, sarcasm or derision, we encounter all kinds and variants of laughter, from the most gentle to its extremely furious manifestations, throughout the apprenticeship of ‘Marcel’.
Avec des contributions de/contributors: Paul Aron; Dominique Defer; Nell de Hullu-van Doeselaar; Karen Haddad; Sjef Houppermans; Didier Hurson; Mathieu Jung; Bérengère Moricheau-Airaud; Anne-Aël Ropars; Thanh-Vân Ton That; Manet van Montfrans; Ruud Verwaal; Philippe Willemart.
Volume Editors:
Sjef Houppermans, Manet van Montfrans, Annelies Schulte Nordholt, Sabine van Wesemael, and Nell de de Hullu-van Doeselaar
Ce volume comporte un dossier sur la thématique du rire dans À la recherche du temps perdu. Toutes sortes de procédés rhétoriques, de multiples collusions avec le destinataire, un discours nourri de plaisir et d’intentions caustiques, donnent à cette dimension une place de première importance. Ironie raffinée qui subtilise les perspectives, satire mordante ou subreptice, burlesque caricatural et grotesque scabreux, humour bonhomme ou raillerie polissonne, moquerie ou sarcasme, toutes les nuances du rire, du plus léger au gros calibre, se rencontrent tout au long de l’apprentissage de ‘Marcel’.
This volume includes a major section on the theme of laughter in the Recherche. Various rhetorical processes, many collusions with the recipient, a discourse nourished with pleasure and caustic intentions, make that this dimension plays a prominent role. Sophisticated irony that subtilises the perspectives, harsh or subreptitious satire, caricatural burlesque and scabrous grotesque, good humour or rascally moquerie, sarcasm or derision, we encounter all kinds and variants of laughter, from the most gentle to its extremely furious manifestations, throughout the apprenticeship of ‘Marcel’.
Avec des contributions de/contributors: Paul Aron; Dominique Defer; Nell de Hullu-van Doeselaar; Karen Haddad; Sjef Houppermans; Didier Hurson; Mathieu Jung; Bérengère Moricheau-Airaud; Anne-Aël Ropars; Thanh-Vân Ton That; Manet van Montfrans; Ruud Verwaal; Philippe Willemart.
This volume includes a major section on the theme of laughter in the Recherche. Various rhetorical processes, many collusions with the recipient, a discourse nourished with pleasure and caustic intentions, make that this dimension plays a prominent role. Sophisticated irony that subtilises the perspectives, harsh or subreptitious satire, caricatural burlesque and scabrous grotesque, good humour or rascally moquerie, sarcasm or derision, we encounter all kinds and variants of laughter, from the most gentle to its extremely furious manifestations, throughout the apprenticeship of ‘Marcel’.
Avec des contributions de/contributors: Paul Aron; Dominique Defer; Nell de Hullu-van Doeselaar; Karen Haddad; Sjef Houppermans; Didier Hurson; Mathieu Jung; Bérengère Moricheau-Airaud; Anne-Aël Ropars; Thanh-Vân Ton That; Manet van Montfrans; Ruud Verwaal; Philippe Willemart.
Institutions, Social Import, and Market Forces in the German Literary Field
Contributors:
Geoffrey Allen Baker, Esther Bauer, Victoria Bläser, Necia Chronister, William Collins Donahue, David Gramling, Marike Janzen, Martin Kagel, Molly Knight, Heidi Madden, Matthias Pabsch, Rolf Parr, Julian Preece, Steffen Richter, Claire Amanda Ross, Volker Schlöndorff, Thomas Scholz, Donna Stonecipher, Sarah Traylor, and Ulrike Wiethaus
Aus unterschiedlichen Perspektiven gibt dieser Band Einblicke in den deutschen Literaturbetrieb, dessen Institutionen und Umschlagplätze. Diskutiert werden Themen wie der Effekt der Digitalisierung auf den Buchmarkt, Literatur und Öffentlichkeit, Buchmessen und Bibliotheken, die Rolle von Literaturwissenschaftler_innen im Literaturbetrieb, postmodernes und postmigrantisches Theater, Herausforderungen literarischer Übersetzung, publizistische Literaturkritik und das Verhältnis von Literatur zu anderen Medien wie Film und Fernsehen. Der Begriff Mischkalkulation – ein stehender Begriff im Literaturbetrieb – reflektiert bei der vorliegenden Sammlung von Essays, Interviews, wissenschaftlichen Analysen und Arbeitsproben von Übersetzern auch eine wissenschaftliche Ökonomie, nämlich die Mischung aus präzisen Einzelstudien und übergreifenden Beiträgen unterschiedlichster Art.
Institutions, Social Import, and Market Forces in the German Literary Field
Aus unterschiedlichen Perspektiven gibt dieser Band Einblicke in den deutschen Literaturbetrieb, dessen Institutionen und Umschlagplätze. Diskutiert werden Themen wie der Effekt der Digitalisierung auf den Buchmarkt, Literatur und Öffentlichkeit, Buchmessen und Bibliotheken, die Rolle von Literaturwissenschaftler_innen im Literaturbetrieb, postmodernes und postmigrantisches Theater, Herausforderungen literarischer Übersetzung, publizistische Literaturkritik und das Verhältnis von Literatur zu anderen Medien wie Film und Fernsehen. Der Begriff Mischkalkulation – ein stehender Begriff im Literaturbetrieb – reflektiert bei der vorliegenden Sammlung von Essays, Interviews, wissenschaftlichen Analysen und Arbeitsproben von Übersetzern auch eine wissenschaftliche Ökonomie, nämlich die Mischung aus präzisen Einzelstudien und übergreifenden Beiträgen unterschiedlichster Art.
What is video game culture and video games as culture? Culture at Play avoids easy answers and deceitful single definitions. Instead, the collected essays included here navigate the messy and exciting waters of video games, of culture, and of the meeting of video games and culture, and do so from four perspectives: Players: Types and Identities; The Human/The Machine: Agents, Ethics, and Affect; Compassion, Recognition, and the Interpersonal; and Learning through Play. As a form of play, video games can greatly affect our lives. As digital objects, they participate in our digital lives. As both, they have a noticeable impact on our relationships with others, with society, and with ourselves, and this is the scope of this book.
What is video game culture and video games as culture? Culture at Play avoids easy answers and deceitful single definitions. Instead, the collected essays included here navigate the messy and exciting waters of video games, of culture, and of the meeting of video games and culture, and do so from four perspectives: Players: Types and Identities; The Human/The Machine: Agents, Ethics, and Affect; Compassion, Recognition, and the Interpersonal; and Learning through Play. As a form of play, video games can greatly affect our lives. As digital objects, they participate in our digital lives. As both, they have a noticeable impact on our relationships with others, with society, and with ourselves, and this is the scope of this book.
The essays in Retranslating Joyce for the 21st Century straddle the disciplines of Joyce studies, translation studies, and translation theory. The newest scholarly developments in these fields are well reflected in recent retranslations of Joyce’s works into Italian, Portuguese, French, Hungarian, Dutch, Turkish, German, South Slavic, and many other languages. Joyce critics and Joyce translators offer multi-angled critical attention to the issues of translation and retranslation, enhanced by their diverse linguistic and cultural backgrounds and innovative methodologies. Because retranslations of Joyce have also exerted significant influence on target language cultures, students and readers of Joyce and, more broadly, of modernist and world literature, will find this book highly relevant to their appreciation of literature in translation.