Relevant bibliographies by topics / German fiction Authors

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  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'German fiction Authors'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "German fiction Authors"

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Descher, Stefan. "Satirical Novels of the Late Enlightenment and the Practice of Fiction. A Methodological Proposal for Investigations Into the History of Fiction." Journal of Literary Theory 14, no. 2 (2020): 147–72. http://dx.doi.org/10.1515/jlt-2020-2003.

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AbstractThe paper examines German satirical novels of the late Enlightenment period, published roughly between 1760 and 1790, under the following question: Is there any evidence that the historical practice of fiction (concerning this time and these texts) deviates from the modern practice of fiction as described by institutional accounts of fictionality? First, it is explained what, in this essay, is meant by the ›modern practice of fiction‹. Four ›core rules‹ are identified that, according to institutional accounts of fictionality, characterize the practice of reading works of fiction. These
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Sarakaeva, Elina A. "The Song of Nibelungen Bodies and How They are Described, Idealised and Eroticized. Part I. Der Helt Was Wol Gewahsen..." Corpus Mundi 1, no. 1 (2020): 112–34. http://dx.doi.org/10.46539/cmj.v1i1.7.

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The discovery of the medieval heroic epic “Das Nibelungenlied”in the XIX century Germany coincided with the search for new national mythology and symbols within the movement of Romantic medievalism. The heroic epic got a country-wide recognition asa great literary work that was supposed to serve as a source of German values and to reflect the German national character. With this approach the characters of the epic were re-constructed as embodiments of these German values, as ideals to follow. The article analyses the iconography of these characters, the “nibelungs”: the way they were visualize
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Amlinger, Carolin. "Being an Author: Literary Identities of Work in the Contemporary German Literary Field." Swiss Journal of Sociology 43, no. 2 (2017): 401–22. http://dx.doi.org/10.1515/sjs-2017-0021.

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Abstract This article considers the normative conceptions and images that contemporary German fiction authors associate with their own work. On the basis of twenty narrative interviews, the article examines the extent to which the different self-reflections of authors manifest themselves in subjective interpretations and literary practices, which in turn reflect the economic and social structure of the literary field. This study aims at an empirical reconstruction of typical notions of authorship.
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Sywenky, Irene. "Representations of German-Polish Border Regions in Contemporary Polish Fiction: Space, Memory, Identity." German Politics and Society 31, no. 4 (2013): 59–84. http://dx.doi.org/10.3167/gps.2013.310404.

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This article examines post 1989 Polish literary production that addresses German-Polish history and border relations in the aftermath of World War II and participates in the German-Polish dialogue of reconciliation. I consider the methodological implications of border space and spatial memory for the analysis of mass displacements in the German-Polish border region with particular attention to spatiocultural interstitiality, deterritorialization, unhomeliness, and border identity. Focusing on two representative novels, Stefan Chwin's Death in Danzig and Olga Tokarczuk's House of Day, House of
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Amalbekova, Maral B., and Bakytgul E. Shagimgereyeva. "“Translation is a child of science and art”: Gerold K. Belger’s translation principles." Philological Sciences. Scientific Essays of Higher Education, no. 3 (May 2021): 3–10. http://dx.doi.org/10.20339/phs.3-21.003.

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The article presents the experience of understanding the translation principles of the Kazakh multilingual writer and translator G.K. Belger. His knowledge of the German, Kazakh and Russian languages determined his special creative, practical and research translation experience. The hypostasis of Belger as translator-practice, translator-researcher is not sufficiently exposed to scientific reflection in Kazakh and Russian translation studies. His rich practice of translation and critical understanding of his colleagues’ translations from Kazakh into Russian and German allowed G.K. Belger cryst
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Lajta-Novak, Julia. "Father and Daughter across Europe: The Journeys of Clara Wieck Schumann and Artemisia Gentileschi in Fictionalised Biographies." European Journal of Life Writing 1 (December 5, 2012): 41–58. http://dx.doi.org/10.5463/ejlw.1.25.

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German pianist Clara Wieck Schumann and Italian painter Artemisia Gentileschi were both tutored by their fathers from an early age and made their mark as great European artists. Their art took them both across the continent, where they met many other famous historical persons. Their lives have not only been recorded in biographies but have also been retold in several novels, or ‘fictionalised biographies’. The fictionalised biography is an interesting hybrid genre, placed somewhat uncomfortably between historiography and the art of fiction, which permits it to disregard certain expectations ra
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Nikonova, Zhanna, Valery Bukharov, and Inna Yastremskaya. "Political Coloring of Adjectives in German Political Discourse." Nizhny Novgorod Linguistics University Bulletin, Special issue (December 31, 2020): 73–92. http://dx.doi.org/10.47388/2072-3490/lunn2020-si-73-92.

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The article analyzes the functional potential of basic adjective color-coding in modern German political discourse, illustrating cases of its political connotation. Using a variety of linguistic research methods, the authors examine functional peculiarities of color adjectives such as rot, orange, gelb, grün, blau, and violett in German-language texts related to politics. Specific examples show that all these adjectives are politically colored, demonstrating the realization of both traditional and contemporary meanings that reflect modern realities of German socio-political life. The research
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Kempfert, Kamila, and Wolfgang Reißmann. "Copyright Disclaimers in Fan Media: Cultural Practice and Legal Relevance." UFITA 84, no. 1 (2020): 191–235. http://dx.doi.org/10.5771/2568-9185-2020-1-191.

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Disclaimers are used in diverse contexts of popular culture and for a wide range of purposes. With digitisation in general and the rise of participatory fan culture in particular, copyright disclaimers have become a familiar and common means of communication. In this paper, we define them as paratextual media of cooperation. The practice of disclaiming seeks to establish mutually accepted conditions for publishing works that owe their existence to different stakeholders. Embedded in empirical legal studies, our paper is based on our own empirical research and a thorough legal assessment of fin
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Werle, Dirk, and Uwe Maximilian Korn. "Telling the Truth: Fictionality and Epic in Seventeenth-Century German Literature." Journal of Literary Theory 14, no. 2 (2020): 241–59. http://dx.doi.org/10.1515/jlt-2020-2006.

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AbstractResearch on the history of fiction of the early modern period has up to now taken primarily the novel into consideration and paralleled the rise of the novel as the leading genre of narrative literature with the development of the modern consciousness of fictionality. In the present essay, we argue that contemporary reflections on fictionality in epic poetry, specifically, the carmen heroicum, must be taken into account to better understand the history of fiction from the seventeenth century onwards. The carmen heroicum, in the seventeenth century, is the leading narrative genre of con
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Bednarczuk, Monika. "Akademicka „międzynarodówka” kobieca? Solidarność, rywalizacja i samotność w Szwajcarii (1870–1900)." Wielogłos, no. 2 (44) (2020): 5–34. http://dx.doi.org/10.4467/2084395xwi.20.010.12401.

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An Academic “Internationale” of Women? Solidarity, Rivalry, and Loneliness in Switzerland (1870−1900) This paper examines the experience of the first generations of women studying in Switzerland. The text corpus consists of autobiographical accounts, letters, and fiction by German, Russian, and Polish authors. Among the first female students in Switzerland, there were such figures as Vera Figner, Olga Lubatovich, Franziska Tiburtius, Ricarda Huch, Rosa Luxemburg, Anna Tomaszewicz-Dobrska, Gabriela Iwanowska-Balicka, Zofia Daszyńska-Golińska, and Józefa Joteyko. The paper discusses the issues o
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Dissertations / Theses on the topic "German fiction Authors"

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Biendarra, Anke S. "P(R)OSE@millenium.de : Modelle intellektueller Aktivität und Tendenzen der deutschen Gegenwartsliteratur in den 90er Jahren /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/9945.

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Dueck, Cheryl E. "Rifts in time and in the self : two generations of GDR women writers and the development of the female subject (Christa Wolf, Brigitte Reimann, Helga Künigsdorf, Helga Schubert)." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35875.

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This dissertation examines the development of the female literary subject in the work of two generations of women writers of the GDR, represented by Christa Wolf (1929), Brigitte Reimann (1931--1973), Helga Konigsdorf (1936) and Helga Schubert (1941). The objectives are twofold: first, to assess the influence of two opposing discursive frameworks of subjectivity, the socialist and the psychoanalytic, on the works of these writers, and second, to examine the effects of an ideological disjuncture of two generations on their literary production.<br>The first generation to embark on a literary car
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Bock, Carolin Anne. "Selbstverwirklichung durch Arbeit? : eine kulturvergleichende Untersuchung an drei Romanen aus der Frauenliteratur." Thesis, Stellenbosch : Stellenbosch University, 1986. http://hdl.handle.net/10019.1/65343.

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Burdekin, Hannah. "The ambivalent author : the fictional presentation of Jewish figures in selected German texts, 1848-1914." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313329.

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Ham, Suok. "Zum Bild der Künstlerin in literarischen Biographien : Christa Wolfs Kein Ort. Nirgends, Ginka Steinwachs' George Sand und Elfriede Jelineks Clara S." Würzburg Königshausen & Neumann, 2008. http://deposit.d-nb.de/cgi-bin/dokserv?id=3028788&prov=M&dokv̲ar=1&doke̲xt=htm.

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Syme, Neil. "Uncanny modalities in post-1970s Scottish fiction : realism, disruption, tradition." Thesis, University of Stirling, 2014. http://hdl.handle.net/1893/21768.

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This thesis addresses critical conceptions of Scottish literary development in the twentieth-century which inscribe realism as both the authenticating tradition and necessary telos of modern Scottish writing. To this end I identify and explore a Scottish ‘counter-tradition’ of modern uncanny fiction. Drawing critical attention to techniques of modal disruption in the works of a number of post-1970s Scottish writers gives cause to reconsider that realist teleology while positing a range of other continuities and tensions across modern Scottish literary history. The thesis initially defines the
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Lefko, Stefana L. "Female pioneers and social mothers novels by female authors in the Weimar Republic and the construction of the new woman /." 1998. http://books.google.com/books?id=IedbAAAAMAAJ.

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Hasenzahl, Kerstin. "Spannung zwischen Realität und Fiktion: Die Rolle des Autors in Cornelia Funkes Roman Tintenherz." Thesis, 2011. http://hdl.handle.net/10012/6126.

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This thesis explores the tension between fiction and reality in Cornelia Funke’s novel Tintenherz (Inkheart), and the importance of the figure and the function of the author as an influential character of the perception of both. I argue that Tintenherz challenges traditional distinctions between reality and fiction, which are aimed at affecting the reader’s understanding of his/her reality. While this blurring of boundaries is evident in a number of instances throughout the text, it can best be seen in the figure of the intradiegetic author who has also written a novel called “Tintenherz.” Thi
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Books on the topic "German fiction Authors"

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Powell, Hugh. Fervor and fiction: Therese von Bacheracht and her works. Camden House, 1996.

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Cailloux, Bernd. German writing: Erzählungen. Suhrkamp, 2006.

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Fictions of Germany: Images of the German nation in the modern novel. Published by Edinburgh University Press for the University of Durham, 1994.

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Utopias Geschlechter: Gender in deutschsprachiger Science Fiction von Frauen. Ulrike Helmer Verlag, 2012.

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Wir in Kahlenbeck: Roman. Luchterhand, 2012.

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Parini, Jay. Benjamin's crossing: A novel. Henry Holt, 1996.

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Parini, Jay. Benjamin's crossing: A novel. Henry Holt and Company, 1998.

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Stelzig, EugeneL. Hermann Hesse's fictions of the self: Autobiography and the confessional imagination. Princeton University Press, 1988.

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Wolf, Christa. Kein Ort.Nirgends. Luchterhand, 1994.

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Wolf, Christa. No place on earth. Virago, 1995.

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Book chapters on the topic "German fiction Authors"

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Horyna, Břetislav. "Prométheus například. Moc mýtu, distance a přihlížení podle Hanse Blumenberga." In Filosofie jako životní cesta. Masaryk University Press, 2019. http://dx.doi.org/10.5817/cz.muni.p210-9458-2019-8.

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The Study Prometheus, for example loosely follows up the central theme of Hans Blumenberg’s theory of myth and mythology, the character of Prometheus and Promethean conceptions in scientific as well as imaginative literature (poetry and drama). The aim is not an elaborate reflection of all the variations on Promethean themes that were summarized in Blumenberg’s epochal book Work on Myth (1979). The author rather selects some themes from the works on the myth about Prometheus in Classical Greek literature (Hesiod, Aeschylus) and, at the turn of modernism, in German movement Sturm und Drang (Goethe). Most attention is paid to a fictional figure known as actio per distans (action at distance, with keeping a distance) and its variations from the distance between people and gods through the distance between people to the distance of an ageing poet from spirit of the age (Zeitgeist), to which he no longer belongs.
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"12 Contemporary German Crime Fiction Authors." In Contemporary German Crime Fiction. De Gruyter, 2019. http://dx.doi.org/10.1515/9783110426601-012.

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Höcker, Arne. "Conclusion." In The Case of Literature. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501749353.003.0005.

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This chapter explains that, without any doubt, Goethe's and Moritz's novels as well as Schiller's and Kleist's novellas are part of today's German literary canon. But just as certainly, this literary canon did not yet exist around 1800. It cannot even be assumed that the writers of these texts considered themselves literary authors. Werther and Anton Reiser conceal Goethe's and Moritz's authorship, and instead frame their novels by means of a fictitious editorship. In Schiller's and Kleist's novellas, the reference to the truthfulness of the story and the historically documented origin of the material have a similar function. What might have been the premises of and motivations for writing about cases for Goethe, Moritz, Schiller, and Kleist when we assume that they did not write as literary authors? The reading of their cases as literary fiction obscures the fact that these novels and novellas might just as well be understood as vehicles for lawyers, medical doctors, pedagogues, and philanthropists to inform each other about the legal and mental status of the individual and, thus, to continue the medical and legal traditions of thinking, arguing, and writing in cases. And yet the close reading of these texts shows that in them the representation of cases began to change.
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Petersen, Vibeke Rützou. "Andreas Eschbach’s Futures and Germany’s Past." In Lingua Cosmica. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041754.003.0004.

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Die Haarteppichknüpfer [The carpet makers; 1995], Jesus Video (1998), Quest (2001), Der Letzte seiner Art [The last of his kind; 2003], and Herr aller Dinge [The master of all things; 2011] all won the Kurd Lasswitz Prize for science fiction. This chapter offers comprehensive analyses of the novels, exploring how Andreas Eschbach, as an author of contemporary popular genre fiction, deals with the German past. It contextualizes Eschbach’s writing in his own cultural-historical environment, points out some culturally specific tropes, and situates his novels in both German and international science-fiction traditions. The overall aim of this examination is to make the case for Andreas Eschbach’s importance in the larger arena of Western science fiction.
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"The Traveller-Author And His Role In Seventeenth-Century German Travel Accounts." In Travel Fact and Travel Fiction. BRILL, 1994. http://dx.doi.org/10.1163/9789004247093_015.

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Birkhold, Matthew H. "Sanctions and Strategies of Control." In Characters Before Copyright. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198831976.003.0005.

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Chapter 4 examines the ways in which authors, publishers, and critics punished violations of the customary norms that governed the production and dissemination of fan fiction in eighteenth-century Germany. Sanctions included official complaints, advertisements, negative reviews, and literary and personal attacks—norms that scholars refer to as public shaming or truthful negative gossip. This chapter then examines the effectiveness of these mechanisms and their wider fallout. In some instances the sanctions motivated third parties, like the famous engraver Chodowiecki, to refuse to deal with perpetrator authors. In other cases, the sanctions inspired the creation of memorable texts, like Goethe’s ribald poem, “Nicolai at Werther’s Grave.” Authors’ critical notes in prefaces, footnotes, and the texts themselves were among the most common form of sanction. Traces of these enforcement mechanisms linger in the texts we read today, long after the censured fan fiction has disappeared from our collective memory. This chapter concludes by analyzing additional strategies authors used to maintain exclusive control over the characters they invented, offering a new explanation for familiar practices in the book trade, such as the practice of announcing the final volume of a novel and soliciting reader feedback for ongoing works.
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Pratsch, Thomas. "Exploring the Jungle: Hagiographical Literature between Fact and Fiction." In Fifty Years of Prosopography. British Academy, 2003. http://dx.doi.org/10.5871/bacad/9780197262924.003.0005.

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Towards the end of the nineteenth century, the German theologian Albert Ehrhardt wrote a chapter on the History Byzantine Literature. It included a paragraph on hagiography, where he compared Byzantine hagiographical literature to a ‘thick jungle with no path leading into its interior’. His remark touches upon one major problem of hagiography: the correct distinction between fact and fiction. Two extreme points of view have been developed with regard to the value of hagiographical texts as historical sources. According to one, hagiography provides valuable information about some aspects of daily life in Byzantium. It stresses the idea that hagiography contains hard facts. According to the second point of view, hagiography is mere fiction. Saints' Lives are hagiographical novels that tell us nothing about the saint and his life, and may at best reveal something about the author's intentions and the historical situation at the time of writing.
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Gevers, Christopher. "The ‘Africa Blue Books’ at Versailles." In The New Histories of International Criminal Law. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198829638.003.0009.

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This chapter tells the story of the silencing of crimes committed against Africans from international criminal law’s founding moment at Versailles in 1919. While British ‘Atrocity Blue Books’ were central to the call for criminal prosecutions of Germans after the war, the two Blue Books concerning crimes committed against Africans were inexplicably excluded from the report of the Commission on the Responsibility for the Authors of the War. This chapter explores the conditions of their erasure—both at Versailles and in the subsequent histories of the First World War and international criminal law—and considers what might happen if they were included within the fields’ dominant historical narrative. In both respects C.S. Forrester’s 1935 novel The African Queen and its myriad afterlives, in fiction, non-fiction, and film, prove a productive analogue as these texts intersect in interesting ways, both in content and form.
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Gaakeer, Jeanne. "Understanding Fact and Fiction in Robert Musil’s The Man without Qualities." In Judging from Experience. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474442480.003.0005.

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This chapter further illuminates the topic of the language of law in its interdisciplinary context. It takes up the Wittgensteinian proposition that the limits of one’s language are the limits of one’s world to show that the wars between law and forensic behavioural sciences on the topic of free will and criminal responsibility are a language problem. With an analysis of the German author Robert Musil’s novel The Man Without Qualities and the criminal case of its fictional murderer Moosbrugger it is argued that the problem of madness and the crisis of modernity is closely connected to a view on the language of law as a representation of states of affairs. The lesson to be drawn from Musil’s novel is that law and literature are value-laden constructs and that this also urges us to carefully consider the methodological and epistemological peculiarities of any discipline.
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Birkhold, Matthew H. "Fictional Characters in the Eighteenth-Century Literary Commons." In Characters Before Copyright. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198831976.003.0007.

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The final chapter shows that fan fiction was treated as raising legal issues separate from piracy. This chapter argues that, because authors were newly vested with the legal capacity to hold rights in their literary creations, literary characters were not free to be appropriated however readers wished. Rather, literary characters constituted a distinctive form of communal property, the use of which was subject to conditions. Chapter 6 thus redefines the “literary commons” of eighteenth-century Germany, providing a new perspective on the rise of intellectual property rights. This chapter proposes a reevaluation of the concept of literary property, the history of moral rights, and the tradition of free culture.
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