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The series entitled Consciousness, Literature and the Arts is a scholarly line of books consisting of monographs (and thematic collections of articles), in the English language, dealing with a wide variety of areas, problems, and applications within the broad field of consciousness studies in relation to literature and the arts with all their sub-genres.

Den thematischen Schwerpunkt der Reihe bilden die Dramen der Gegenwart mit Blick auf ihre Bühneninszenierungen. Neben den literatur- und kulturwissenschaftlichen sowie theaterwissenschaftlichen Studien zu zeitgenössischen, vorwiegend europäischen Dramen werden in dieser Schriftenreihe zugleich Resultate von synchronen oder diachronen Forschungen präsentiert, die sich den Tendenzen in der Entwicklung der heutigen Bühnendichtkunst widmen. Die Reihe stellt somit Forschungsergebnisse zu dem Umfeld des Dramas (als textlichem Phänomen) und seiner Aufführung vor, wobei literaturwissenschaftliche, kulturelle, theoretische, aber auch komparatistische Aspekte im Fokus stehen sollen.
Die Herausgeber:innen der Reihe sind offen für Monografien, Sammelbände, Qualifikationsschriften sowie für Tagungsergebnisse und Bibliografien, die ein Peer-Review-Verfahren durchlaufen. Die Auswahl erfolgt unter Einbeziehung eines internationalen Advisory Boards. Über die Aufnahme der Manuskripte entscheidet das Editorial Board.
The thematic focus of the series is on contemporary dramas with a view to their stage productions. In addition to studies in literary and cultural studies as well as theater studies on contemporary, predominantly European dramas, this series also presents the results of synchronous or diachronic research devoted to the tendencies in the development of contemporary stage poetry. The series thus presents research results on the environment of drama (as a textual phenomenon) and its performance, focusing on literary, cultural, theoretical, but also comparative aspects.
The series is open to monographs, edited volumes, qualifying papers, as well as conference proceedings and bibliographies that undergo a peer-review process. Selection will involve an international advisory board. The Editorial Board decides on the acceptance of manuscripts.
The book series Word and Music Studies is the central organ of the International Association for Word and Music Studies (WMA), an association founded in 1997 to promote transdisciplinary scholarly inquiry devoted to the relations between literature/verbal texts/language and music. WMA aims to provide an international forum for musicologists, literary and cultural scholars with an interest in intermediality studies and in crossing cultural as well as disciplinary boundaries.
Word and Music Studies publishes theme-oriented volumes and monographs, documenting and critically assessing the scope, theory, methodology, and the disciplinary and institutional dimensions and prospects of the field on an international scale.

For specific information on the editing of WMS volumes and style information please visit the WMS Style Guide.

Authors are cordially invited to submit proposals and/or full manuscripts to the publisher at BRILL, Masja Horn.
Often identified as one of the most genuine and enduring American film genres, the road movie has never been explored in the context of experimental filmmaking. To fill this gap, Lost Highways, Embodied Travels provides the first book-length study of over eighty unique and often obscure films and videos and situates them within the corporeal turn in American avant-garde cinema, so far mostly associated with body genres and sexually explicit films. Drawing on unpublished archival materials, the book offers a fresh take on both past and current practices of the experimental film community for scholars, students, makers and film buffs.
In the aftermath of New Historicism and Cultural Materialism, the field of Shakespeare Studies has been increasingly overrun by post-theoretical, phenomenological claims. Many of the critical tendencies that hold the field today—post-humanism, speculative realism, ecocriticism, historical phenomenology, new materialism, performance studies, animal studies, affect studies—are consciously or unwittingly informed by phenomenological assumptions. This book aims at uncovering and examining these claims, not only to assess their philosophical congruency but also to determine their hermeneutic relevance when applied to Shakespeare. More specifically, Unphenomenal Shakespeare deploys resources of speculative critique to resist the moralistic and aestheticist phenomenalization of the Shakespeare playtexts across a variety of schools and scholars, a tendency best epitomized in Bruce Smith’s Phenomenal Shakespeare (2010).
Evil women, who are they really? What are their motives, and how are they remembered and constructed within our culture? Evil Women: Representations within Literature, Culture and Film seeks to interrogate the nature and construction of evil women in the above fields. Through literature, poetry, history, ballads, film and real-life culture, scholars explore how the evil woman has been constructed and, in some cases, erased; the punishment and treatment of evil women; and the way evil women have been portrayed on and off screen through character, narrative and behind the camera development.
Transmissions, Receptions, and Regional Contexts
Japan on the Jesuit Stage offers a comprehensive overview of the representations of Japan in early modern European Neo-Latin school theater. The chapters in the volume catalog and analyze representative plays which were produced in the hundreds all over Europe, from the Iberian Peninsula to present-day Croatia and Poland.

Taking full account of existing scholarship, but also introducing a large amount of previously unknown primary material, the contributions by European and Japanese researchers significantly expand the horizon of investigation on early modern European theatrical reception of East Asian elements and will be of particular interest to students of global history, Neo-Latin, and theater studies.
Are we free agents? This perennial question is addressed by tragedy when it dramatizes the struggle of individuals with supernatural forces, or maps the inner conflict of a mind divided against itself.

The first part of this book follows the adaptations of four myths as they migrate from classical Greek tragedy to Seneca and on to seventeenth-century France: the stories of Agamemnon, Oedipus, Medea, and Phaedra. Detailed linguistic analysis charts the playwrights’ contrasting assumptions about agency and autonomy. In the second part, six plays by Corneille and Racine are discussed to show how the problem of agency and free will is explored in scenarios which show protagonists who are in thrall to their past, to their rulers, or to their own ideals.
Black Neo-Victoriana is the first book-length study on contemporary re-imaginations of Blackness in the long nineteenth century. Located at the intersections of postcolonial studies, Black studies, and neo-Victorian criticism, this interdisciplinary collection engages with the global trend to reimagine and rewrite Black Victorian subjectivities that have been continually marginalised in both historical and cultural discourses. Contributions cover a range of media, from novels and drama to film, television and material culture, and draw upon cultural formations such as Black fandom, Black dandyism, or steamfunk. The book evidences how neo-Victorian studies benefits from reading re-imaginations of the long nineteenth century vis-à-vis Black epistemologies, which unhinge neo-Victorianism’s dominant spatial and temporal axes and reroute them to conceive of the (neo-)Victorian through Blackness.
Paradigmen der Störung in Dramentexten und Bühnenkonzepten nach 2000
In exemplarischen Studien aus literatur-, theater- und medienwissenschaftlicher Perspektive beleuchtet der Band das wechselseitige Verhältnis von Theater und Krise und rekurriert dabei auf die Tatsache, dass das Drama seit jeher eine Antwort auf kulturelle und gesellschaftliche Krisen darstellt – weist es doch mit der Peripetie ein ästhetisches Modell der Krise auf, in dem das Moment der Entscheidung zwischen Heilung und Katastrophe fokussiert, gespiegelt und verfremdet wird. Zugleich fungiert Bühnenkunst selbst als Motor gesellschaftlicher Emergenz, ist sie doch in der Lage, bestehende Ordnungen in Frage zu stellen, vermeintliche Sicherheiten zu erschüttern und Normalitäten zu stören, um sie auf diese Weise überhaupt ins Bewusstsein zu rufen.