Dann stirb doch selber

A collection of original essays and innovative reading strategies—provides examples of reading Dickens in creative and challenging ways Reading Dickens Differently features contributions from many of the field’s leading scholars, offering creative ways of reading Dickens and enriching understanding of the most celebrated author of his time. A diverse range of innovative reading strategies—archival, historical, textual, and digital—representing new and exciting approaches to contemporary literary and cultural studies. This groundbreaking volume brings together literature, history, politics, painting, illustration, social media, video games, and other topics to reveal new opportunities to engage with the author's life and work. This unique book includes a re-evaluation of Dickens’ death and burial, new research data drawn from legal records and newspapers, assessments of well-known paintings and lesser-known illustrations, experimental readings of Dickens’ texts in digital form, and more. Much of the evidence presented has never been seen before, such as Dickens' funeral fee account from Westminster Abbey, Dickens' death certificate, and a telegram from Dickens' son asking for urgent assistance for his dying father. Revising and refreshing the critical strategies of traditional Dickens studies, this important volume: Features new research data on aspects of Dickens's life Discusses a range of innovative reading strategies (including physiological novel theory) for clarifying aspects of Dickens' work Examines the presence of Dickens in popular media and technology, such as Assassin’s Creed video game and A Christmas Carol iPad app Features rare illustrations, including documents and images relating to Dickens's death and funeral Edited by world authorities on Dickens and his manuscripts Authoritative, yet accessible, Reading Dickens Differently is a must-have book for Dickens specialists, instructors and students in Victorian fiction and Dickens courses, as well as general readers lookingfor innovative reading strategies of the author's work.

Historical Narrative Offers Introduction to Romanticism by Placing Key Figures in Overall Social Context Going beyond the general literary survey, A History of Romantic Literature examines the literatures of sensibility and intensity as well as the aesthetic dimensions of horror and terror, sublimity and ecstasy, by providing a richly integrated account of shared themes, interests, innovations, rivalries and disputes among the writers of the late eighteenth and early nineteenth centuries. Drawing from the assemblage theory, Prof. Burwick maintains that the literature of the period is inseparable from prevailing economic conditions and ongoing political and religious turmoil, as well as developments in physics, astronomy, music and art. Thus, rather than deal with authors as if they worked in isolation from society, he identifies and describes their interactions with their communities and with one another, as well as their responses to current events. By connecting seemingly scattered and random events such as the bank crisis of 1825, he weaves the coincidental into a coherent narrative of the networking that informed the rise and progress of Romanticism. Notable features of the book include: A strong narrative structure divided into four major chronological periods: Revolution, 1789-1798; Napoleonic Wars, 1799-1815; Riots, 1815-1820; Reform, 1821-1832 Thorough coverage of major and minor figures and institutions of the Romantic movement (including Mary Wollstonecraft, Elizabeth Montague and the Bluestockings, Lord Byron, John Keats, Letitia Elizabeth Landon etc. ) Emphasis on the influence of social networks among authors, such as informal dinners and teas, clubs, salons and more formal institutions With its extensive coverage and insightful analysis set within a lively historical narrative, History of Romantic Literature is highly recommended for courses on British Romanticism at both undergraduate and post-graduate levels. It will also prove a highly useful reference for advanced scholars pursuing their own research.

What distinguishes fiction from ordinary experience is not a lack of reality but a surfeit of rationality – this was the thesis of Aristotle’s Poetics. The rationality of fiction is that appearances are inverted. Fiction overturns the ordinary course of events that occur one after the other, aiming to show how the unexpected arises, happiness transforms into unhappiness and ignorance into knowledge. In the modern age, argues Ranci?re, this fictional rationality was developed in new ways. The social sciences extended the model of causal linkage to all spheres of human action, seeking to show us how causes produce their effects by inverting appearances and expectations. Literature took the opposite path. Instead of democratizing fictional rationality to include all human activity in the world of rational knowledge, it destroyed its principles by abolishing the limits that circumscribed a reality peculiar to fiction. It aligned itself with the rhythms of everyday life and plumbed the power of the “random moment” into which an entire life is condensed. In the avowed fictions of literature as well as in the unavowed fictions of politics, social science or journalism, the central question is the same: how to construct the perceptible forms of a shared world. From Stendhal to Jo?o Guimar?es Rosa and from Marx to Sebald, via Balzac, Poe, Maupassant, Proust, Rilke, Conrad, Auerbach, Faulkner and some others, this book explores these constructions and sheds new light on the constitutive movement of modern fiction, the movement that shifted its centre of gravity from its traditional core toward those edges in which fiction gets confronted with its possible revocation.