Relevant bibliographies by topics / German Fantasy literature

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'German Fantasy literature'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2024

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Journal articles on the topic "German Fantasy literature"

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Safron, E. A. "The Legacy of German Romanticism in Russian Urban Fantasy." Nauchnyi dialog, no. 12 (December 31, 2020): 196–207. http://dx.doi.org/10.24224/2227-1295-2020-12-196-207.

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The philosophical views of German romantics, as well as images, motives, chronotopes characteristic of German romanticism, embodied in the domestic urban fantasy are analyzed. Special attention is paid to the techniques of the comparative method. The scientific novelty of the research lies in the almost complete absence of works devoted to the study of urban fantasy. It is noted that this fantasy subgenre has not been considered in detail in the context of the continuation of the traditions of romantic German literature. The theoretical basis of the research is presented by the works of M. M. Bakhtin, N. Ya. Berkovsky, V. M. Zhirmunsky, Yu. M. Lotman, S. S. Levochsky, etc. It was revealed that urban fantasy inherits the main images, themes, motives, symbols that dominated in German romanticism: the motive of a double, the image of a doll, an artist, etc. It was established that the authors of urban fantasy not only reproduce the image of a romantic artist-creator, but depict a character-demiurge. It has been proven that urban fantasy deepens and transforms the romantic “night beginning”: the images of the dead and vampires become plot-forming characters in independent series of works. It is concluded that the authors of urban fantasy, like German romantics, activate the readers’ attention to mythology and folklore, creating new fantastic worlds with their help.
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Hammer, Langdon. "Plath's German." ELH 91, no. 1 (March 2024): 239–62. http://dx.doi.org/10.1353/elh.2024.a922015.

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Abstract: This essay explores Plath's conflicted attitude toward the German language, which she tried and failed to learn. For Plath, German stood in relation to English in the position that the pre-linguistic verbal activity of the infant stands in relation to the acquired language. A language both intimate and foreign, familiar and alien, forgotten and never mastered, German was the language inside the language of her poetry, binding her to German history and culture. In "Daddy," Plath's play with word-sounds brings the dynamics of language learning into contact with sado-masochistic fantasy and the history of the Holocaust.
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Ivanova, Elizaveta A. "Genre Changes in the “Tintentrilogie” by Cornelia Funke." World Literature in the Context of Culture, no. 16 (2023): 5–10. http://dx.doi.org/10.17072/2304-909x-2023-16-5-10.

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The “Tintentrilogie” by Cornelia Funke is one of the most well-known works of German fantasy literature. It is meant for children and teenagers, but the first part differs from its sequels as this article demonstrates. The first book of the trilogy strictly follows the canons of children’s literature while the second and the third ones incorporate significant elements of epic fantasy. Such blending of genres allows to expand the reading audience and to treat more seriously the subjects brought up in the text.
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Layne, Priscilla. "From Postmigrant to Posthuman." TDR: The Drama Review 67, no. 2 (June 2023): 85–104. http://dx.doi.org/10.1017/s1054204323000072.

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A recent trend in Black German theatre engages with fantasy and posthumanism to criticize German racism and nationalism. In Krieg der Hörnchen (War of the Squirrels), Simone Dede Ayivi combines posthumanism and postnationalism, using German fears of invasive gray squirrels taking over the habitat of native red squirrels to reimagine xenophobic and racist debates about migration.
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Swales, Martin, and Chloe E. M. Paver. "Narrative and Fantasy in the Post-War German Novel." Modern Language Review 96, no. 1 (January 2001): 274. http://dx.doi.org/10.2307/3735833.

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Seago, Karen, and Lavinia Springett. "Dzikie bohaterki? Problematyka płci kulturowej i gatunku literackiego w przekładach Northern Lights Philipa Pullmana." Przekładaniec, no. 40 (2020): 22–50. http://dx.doi.org/10.4467/16891864pc.20.002.13165.

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Savage Heroines? The Treatment of Gender and Genre in Translations of Philip Pullman’s Northern Lights Philip Pullman’s Northern Lights is the first instalment of his award-winning trilogy His Dark Materials. In this alternate-worlds fantasy and children’s literature classic, Lyra and her daemon Pan are catapulted from the relative stability of Oxford to negotiate an increasingly threatening world in a quest to protect free will from cataclysmic adult zealotry. According to prophecy, Lyra is the chosen one; she conforms to the tropes of the fantasy quest performing the paradigmatic steps of the saviour hero. Pullman’s protagonist transgresses and subverts the stereotypical expectations of the fantasy heroine whose generic destiny is coded in enclosure, passivity and endurance. Lyra is also a coming of age story and here again Pullman’s conceptualisation does not conform to the female pattern in both fantasy and children’s literature where marriage functions as the marker for maturity. Character is one of the two defining traits of fantasy (Attebery 1992) and it performs a didactic function in children’s literature. Characterisation is created through the reader’s interpretation of textual cues: narratorial description; direct and free-indirect speech. Lyra’s character subverts fantasy stereotypes and depicts a transgressive child who does not conform to gender role expectations. Genre translation tends to adapt the text to target culture norms and the didactic and socialising impetus of children’s literature has been shown to prompt translation strategies which comply with the receiving culture’s linguistic and behavioural norms. In this paper, we analyse the rendering of character cues in the French, German and Italian translations of Northern Lights: 1. Is the transgressive trope of a) the heroine following the male hero paradigm and b) the coming of age pattern maintained or normalised to conform to genre expectations? 2. Is Lyra’s transgressive character rendered in translation or is it adapted to comply with didactic expectations of behaviour? 3. Are there different notions of the role and function of children’s literature in the target environments and do these impact on translation strategies?
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Seago, Karen, and Lavinia Springett. "Savage Heroines? The Treatment of Gender and Genre in Translations of Philip Pullman’s Northern Lights." Przekładaniec, Special issue 1/2022 (December 30, 2022): 7–32. http://dx.doi.org/10.4467/16891864epc.22.001.16515.

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Philip Pullman’s Northern Lights is the first instalment of his award-winning trilogy His Dark Materials. In this alternate-worlds fantasy and children’s literature classic, Lyra and her daemon Pan are catapulted from the relative stability of Oxford to negotiate an increasingly threatening world in a quest to protect free will from cataclysmic adult zealotry. According to prophecy, Lyra is the chosen one; she conforms to the tropes of the fantasy quest performing the paradigmatic steps of the saviour hero. Pullman’s protagonist transgresses and subverts the stereotypical expectations of the fantasy heroine whose generic destiny is coded in enclosure, passivity and endurance. Lyra is also a coming of age story and here again Pullman’s conceptualisation does not conform to the female pattern in both fantasy and children’s literature where marriage functions as the marker for maturity. Character is one of the two defining traits of fantasy (Attebery 1992) and it performs a didactic function in children’s literature. Characterisation is created through the reader’s interpretation of textual cues: narratorial description, direct and free-indirect speech. Lyra’s character subverts fantasy stereotypes and depicts a transgressive child who does not conform to gender role expectations. Genre translation tends to adapt the text to target culture norms and the didactic and socialising impetus of children’s literature has been shown to prompt translation strategies which comply with the receiving culture’s linguistic and behavioural norms. In this paper, we analyse the rendering of character cues in the French, German and Italian translations of Northern Lights: 1. Is the transgressive trope of a) the heroine following the male hero paradigm and b) the coming of age pattern maintained or normalised to conform to genre expectations? 2. Is Lyra’s transgressive character rendered in translation or is it adapted to comply with didactic expectations of behaviour? 3. Are there different notions of the role and function of children’s literature in the target environments and do these impact on translation strategies?
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Swales, Martin. "Narrative and Fantasy in the Post-War German Novel (review)." Modern Language Review 96, no. 1 (January 2001): 274–75. http://dx.doi.org/10.1353/mlr.2001.a825656.

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Tesch, Pamela. "Romantic Inscriptions of the Female Body in German Night and Fantasy Pieces." Neophilologus 92, no. 4 (October 11, 2007): 681–97. http://dx.doi.org/10.1007/s11061-007-9085-5.

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Pfau, T. "Conjuring History: Lyric Cliche, Conservative Fantasy, and Traumatic Awakening in German Romanticism." South Atlantic Quarterly 102, no. 1 (January 1, 2003): 53–92. http://dx.doi.org/10.1215/00382876-102-1-53.

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Dissertations / Theses on the topic "German Fantasy literature"

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Paver, Chloe E. M. "The narrator as fabulist : fantasy, fictionalization and exploration in German novels of the 1960s." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319008.

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Klammer, Ivana R. "Reinventing the Colonial Fantasy in the Post-WWII era: Jovita Epp's Amado Mio." BYU ScholarsArchive, 2010. https://scholarsarchive.byu.edu/etd/2285.

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Austrian playwright Jovita Epp's German language novel Amado mí­o, which takes place in post-WWII Argentina, is a modern adaptation of the traditional colonial novel. As such, the romances between the female main character, an Argentine of German descent, and her two love interests, an Argentine of Spanish descent (Criollo), and an Austrian Argentine, reflect the hopes and fears of persons and/or cultures caught up in the imperialist dreams of their nation. In the wake of WWII, Argentina becomes a space in which European(-descended) settlers can look back at Europe's "barbarism," questioning the imperialist worldviews that brought Europe to the brink of destruction. At the same time, these colonists search for European values that are salvageable from the cultural wreckage in Europe and employable in reconstructing a new identity in Argentina.
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Karrenbrock, Helga. "Märchenkinder - Zeitgenossen : Untersuchungen zur Kinderliteratur der Weimarer Republik /." Stuttgart [u.a.] : Metzler, 2001. http://www.gbv.de/dms/bs/toc/331640538.pdf.

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Bendel, Christian. "Die Innenweltdarstellung in der realistischen Kinderliteratur des 20. Jahrhunderts : Formen- und Funktionswandel - eine erzähltheoretische Untersuchung zur Bestimmung und Präzisierung gattungstypischer Phänomene /." Hamburg : Dr. Kovač, 2008. http://d-nb.info/988939347/04.

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Cook, Jared Welling. "Nazisploitation and the Problem of Violence in Quentin Tarantino's Inglourious Basterds." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2698.

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In this thesis, I explore the representation of Nazis and violence in Quentin Tarantino's Inglourious Basterds (2009), including how the film proposes justification for violence and murder, and how the film participates in cultural fantasies. The film presents an alternate outcome of World War II in which the Allies achieve victory by assassinating Hitler and the High Command of the Third Reich in a movie theater. The Nazis in the film, far from being a complex enemy, are used for their token villain status. Using the Nazis in this way both participates in and reinterprets the Nazisploitation genre. The protagonists, the clandestine military force known as the "Basterds," which attacks German troops using guerrilla warfare tactics, help make this victory possible. Aldo, their leader, encourages his men to brutalize the Nazis they come in contact with, and Aldo shows the way by carving swastikas in the foreheads of Nazis he allows to live. Tarantino creates an aesthetic surrounding his violence in an attempt to create a paradigm in which murder is imagined to be morally acceptable. Yet the film also supports this paradigm by setting the Nazi up in much the same way cinema uses the zombie, as a killable being, a blank body on which violence can be justifiably enacted. As a blank body, cultural imagination can also be inscribed on the Nazi, using them as a meditation on Jewish revenge fantasy and a fantasy of American revenge against terrorists. In the end, the Basterds become more like Nazi villains than heroes due to their participation in Nazi-like violence. The audience, as well, faces the problem of becoming like Nazis by viewing the film.
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Downing, Lisa. "The early and influential role of science fantasy in sixteenth-, seventeenth-, and eighteenth-century England, France, and Germany| A selected account." Thesis, Northern Illinois University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1546015.

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Science fiction critics have dueled over definitions of sixteenth-, seventeenth-, and eighteenth-century science fiction, often classifying early science fiction as mere prototype. Chapter One of this thesis examines the myriad definitions of the term “science fiction” allowing a distinguishable set of literary characteristics for science fiction, fantasy, and science fantasy. Early science fiction authors such as Johannes Kepler, Francis Godwin, Savinien Cyrano De Bergerac, Margaret Cavendish, and Jonathan Swift refashioned the familiar fantasy genre with scientific ideas, establishing a science fantasy genre to frame dangerous and rebellious ideas in a conventional and innocuous structure, the fiction novel. Chapter Two analyzes the science fiction elements present in early science fantasy of Kepler, Godwin, De Bergerac, Cavendish, and Swift as well as the scientific, religious, and political ramifications of science fantasy in the sixteenth, seventeenth, and eighteenth centuries. Chapter Three briefly highlights elements of early science fantasy that influenced twentieth- and twenty-first century science fiction. Early science fantasy not only influenced generations of science fiction writers and scientists, but it also was one of the main forces that legitimized the sciences.

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Kuhn, T. "Literary form and politics in German exile drama 1933 to 1939 : A study of Ferdinand Bruckner's 'Die Rassen', Theodor Fanta's 'Die Kinder des unbekannten Soldaten', and Bertolt Brecht's 'Furcht und Elend des Dritten Reiches'." Thesis, University of Oxford, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.371683.

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Kim, Chorong. "Storytelling tricksters: a reader’s coming-of-age in young adult fantasy fiction in Germany." Thesis, 2018. https://dspace.library.uvic.ca//handle/1828/9441.

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In this thesis, I examine three works of modern German fantasy fiction for young adults, their common grounding in the Romantic aesthetic framework and in particular the Romantic notion of creativity, and the implication of their unique fantasy fiction paradigm in our modern day. The novels are Michael Ende’s The Neverending Story (1979), Inkheart (2003) by Cornelia Funke and The City of Dreaming Books (2006) by Walter Moers. They represent a Germany-specific narrative paradigm which can be seen in the protagonist readers’ transformation from mere readers into storymakers/storytellers, and in the conflict between a book-loving hero and antagonists who are against literature. The protagonists embody the Romantic notion of creativity that involves the sublimation of a poet’s crisis into an exploration of the self. The mundane is infused with fantasy, thereby elevating reality to an idealised state. These Romantic storytelling readers act as tricksters, a fairy tale archetype that shares similarities with the figure of the Romantic poet. I employ the theoretical frameworks of German Romanticism, Frankfurt School critical theory, and postmodern models, including those by Deleuze and Guattari. I argue for a modern version of the trickster archetype which explains how a complacent, passive reader becomes an active storyteller.
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Huxdorff, Claus. "Spuren visionärer Multikulturalität: Fantasie und Wirklichkeit in Campes "Robinson der Jüngere": Auf dem Weg vom Kolonialismus zum Kosmopolitismus." 2010. http://trace.tennessee.edu/utk_gradthes/720.

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This thesis aims to investigate the traces of multicultural implications in Joachim Heinrich Campe’s Robinson der Jüngere 1779/80. On one level, Campe’s adaptation of Defoe’s Robinson Crusoe appears to awaken or sustain potential colonial fantasies among its German readers. However, Campe’s Robinson der Jüngere does not follow colonial conventions, such as exhibited in Defoe, but instead depicts a society based much more on the concept of a common humanity shared by Europeans and Caribbean natives alike. It conceives of cooperation and exchange as a mutual gain for both parties. Robinson’s island functions as a kind of social testing ground offering opportunities for trial runs of Campe’s social-utopian concepts. In this way, the society Campe portrays offers an implicit critique of the colonial realities in his era as practiced by the European colonial powers. Thus, Robinson der Jüngere goes beyond the obvious pedagogical aim, inspired by Rousseau, to raise pious, self-sufficient and industrious citizens. Instead its underlying socio-political message deserves attention. In comparison with Defoe, Campe distances himself from practices of then-current colonial behavior, such as slavery and self-enrichment from exploiting natural resources. Among the indications that Campe was attempting to establish an ideal alternative to the colonialism of his era are his depictions of an amicable bond between Robinson and Freitag, the marriages of Europeans and natives and even the distinct wish of the Spaniards and Englishmen to remain in the ideal society Robinson had crafted on his island, rather than returning to Europe. The international success of Robinson der Jüngere suggests the lasting influence it had on generations of readers. In the analysis I present, Campe subliminally educates the listening children in the book and the reading public to become open-minded citizens of future societies.
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Books on the topic "German Fantasy literature"

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H, Donahue Neil, and Kirchner Doris, eds. Flight of fantasy: New perspectives on inner emigration in German literature, 1933-1945. New York: Berghahn Books, 2005.

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Richter, Simon. Missing the breast: Gender, fantasy, and the body in the German Enlightenment. Seattle, WA: University of Washington Press, 2005.

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Richter, Simon. Missing the breast: Gender fantasy, and the body in the German Enlightenment. Seattle: University of Washington Press, 2006.

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Kleudgen, Jörg. Necrologio: Deutsche Phantastik der Gegenwart. Windeck Sieg: Blitz, 2010.

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Kleudgen, Jörg. Necrologio: Deutsche Phantastik der Gegenwart. Windeck Sieg: Blitz, 2010.

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Simon, Erik. Lichtjahr 4: Ein Phantastik-Almanach. Berlin: Verl. Das Neue Berlin, 1985.

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Roeder, Caroline. Phantastisches im Leseland: Die Entwicklung phantastischer Kinderliteratur der DDR (einschliesslich der SBZ) : eine gattungsgeschichtliche Analyse. Frankfurt am Main: P. Lang, 2006.

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Lange, Carsten. Fantasie und Fantastik in Christoph Ransmayrs Roman Die letzte Welt: Ein Unterrichtsmodell für den Deutschunterricht in der Oberstufe. Frankfurt am Main: Lang, 2009.

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1957-, Lösel Michael, ed. Briefe & Taten: Eine Auseinandersetzung : eine Einfürhung in die phantastische Literatur : eine Chronik des Literaturkreises ehem. Bleichstrasse. Lauf: Fahner, 1996.

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Frankenstein, Lydia. Ausgewählte Werke der deutschsprachigen fantastischen Jugendliteratur: Genretaxonomische Versuche aus historischer Sicht. Stockholm: Almqvist & Wiksell International, 1993.

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Book chapters on the topic "German Fantasy literature"

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Paver, Chloe E. M. "Jurek Becker: Jakob Der lügner." In Narrative and Fantasy in the Post-War German Novel, 117–63. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198159650.003.0005.

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Abstract Unlike Johnson, Frisch, and Wolf, who were already established writers by the I96os, Jurek Becker, an East German writer of Polish: Jewish origin, was still a novice at this time. His literary début, the novel Jakobde Lügnerwas published to great acclaim in I969, at a time when the controversy over Christa T. was still raging. Indeed, for the critic Volker Hage, looking back after the Wende, these two novels together mark a watershed in the development of GDR literature and can be credited with having made West German critics take GDR writing seriously.
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"Are Dreams Gender-Related? The Function of Dreams in Middle High German Narrative Literature." In Imagination and Fantasy in the Middle Ages and Early Modern Time, 511–42. De Gruyter, 2020. http://dx.doi.org/10.1515/9783110693669-013.

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Paver, Chloe E. M. "Christa wolf: Nachdenken Über Christa T." In Narrative and Fantasy in the Post-War German Novel, 84–116. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198159650.003.0004.

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Abstract Even before it reached the GDR’s bookshops early in 1969 Nachdenken überChristaT., Christa Wolf’s second major novel, was already the subject of speculation in the German book world. Delays in the book’s production and two lukewarm reviews which appeared in advance of the novel itself led to the suspicion that Christa T. was being suppressed because it was unpalatable to the SED. When it finally appeared, the novel became a cause célèbre, partly because of the undeservedly hostile reception which it received in the East, partly because of the equally undeserved tag of ‘oppositional literature’ which was attached to it in the West, and in no small part because its publisher took the extraordinary step of distancing himself publicly from the book, in the pages of Neues Deutschland
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"The World of Hybrid Women in Medieval and Early Modern German Literature: Fantasy Images, Fascination, and Terror." In Imagination and Fantasy in the Middle Ages and Early Modern Time, 437–68. De Gruyter, 2020. http://dx.doi.org/10.1515/9783110693669-010.

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