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Literary Tradition (literary + tradition)

Distribution by Scientific Domains
Humanities and Social Sciences75%

Selected Abstracts

A New Modernism or ,Neue Lesbarkeit'?: Hybridity in Georg Klein's Libidissi

GERMAN LIFE AND LETTERS, Issue 2 2002
Stuart Taberner
Since unification, critics Ulrich Greiner and Frank Schirrmacher, influenced by Karl Heinz Bohrer, have called for a return to a supposedly repressed modernist tradition in which aesthetic transcendence and subjectivity were valued more highly than any moralising agenda. Other editors and writers such as Uwe Wittstock, Martin Hielscher and Matthias Politycki, however, have promoted a so-called ,Neue Lesbarkeit' based on Anglo-American models stressing readability and story-telling. In both cases, the guiding motivation has been the desire to define a space for German writing within the globalised literary market place. Georg Klein's Libidissi presents a model of a possible third way between a form of modernism that would retreat into the ghetto of the German literary tradition and imitation of the Anglo-American mainstream. The present article thus reveals the manner in which Klein's novel plays with hybridity: hybridity of genre and influences insofar as the book alludes to the Anglo-American tradition of the spy novel and hybridity as a means of resisting globalisation and the eradication of local cultures. [source]

Berthold Auerbach's Deutscher Volks-Kalender: Editing as Political Agenda

GERMAN LIFE AND LETTERS, Issue 1 2002
Kristina R. Sazaki
An analysis of Berthold Auerbach's Deutscher Volks-Kalender (1858,69) reveals how Auerbach attempted to participate in and to shape the discourse on national identity. One of the most popular writers of his day, he used his position as editor to carry out a political agenda that advocated German unification. He attempted to unify the diverse strata of society by providing specific ideas and values , above all on German unification and emigration , that would be understood and accepted by the practical as well as the literary reader. Many stories and essays called directly or indirectly for a united Germany. Others dealt with the hot topic of America during the Civil War as a means to encourage Germans to remain in Germany. Auerbach routinely engaged like-minded contributors from the fields of politics, science, sociology, and the arts to create a multidisciplinary forum on nationhood. By employing images of family, friendship, and the organic and also by conjuring up a common literary tradition in Friedrich Schiller, Auerbach projected his concept of nation onto a popular form of mass culture , the calendar. [source]

John Wiley & Sons: 200th anniversary!

LASER TECHNIK JOURNAL, Issue 1 2007
Andreas Thoß Dr.
This year, the publisher John Wiley & Sons celebrates its 200th anniversary. When Charles Wiley first opened his print shop in lower Manhattan in 1807, America was a young nation, full of potential and seeking its cultural identity on the global stage. Wiley was there, contributing to the emerging American literary tradition by publishing such great 19th century American writers as James Fenimore Cooper, Washington Irving, Herman Melville, and Edgar Allan Poe. Later on, Wiley published the works of outstanding European writers such as Hans Christian Andersen, Charles Dickens, John Ruskin, and Elizabeth Barrett Browning. Yet, during the second industrial revolution , and its resulting knowledge revolution , Wiley abandoned its literary programme to pursue knowledge publishing for a global community. Today Wiley publishes a broad variety of journals, encyclopedias, books, and online products. The spectrum reaches from medicine to astronomy, from trade journals to consumer books and it includes educational materials for students as well as for lifelong learners. Since 1807, the world has seen 41 U.S. Presidents, but there have only been ten Wiley Presidents. Today, Wiley is a publicly held, independently managed family business. That is the formula of success that has sustained the company for two centuries. In 2007 Wiley is one of the major global publishers with more than one billion dollar revenue and about 3.900 employees. This will increase even more, when the acquisition of Blackwell Publishing will be completed in 2007. Aged only three years, the Laser Technik Journal is one of the youngest among the Wiley Journals. But it fits well in the history of Wiley. Thomas Alva Edison, the "Wizard of Menlo Park", held William H. Wiley in high regard, and so there is a long tradition of close contacts between the publishing house and the engineering community. The purpose of the journals has changed little: Our mission is to provide the community with up to date information on the latest in technology, reports and discussions on trends and markets, and finally the journal serves as a forum for key people from science and business to share their visions and experiences. 2007 will be a great year not only for Wiley, but for the laser community as well. Company reports from Coherent, Trumpf or Rofin Sinar show two-digit growths and excellent earnings. Record numbers are expected also at conferences and trade shows. At Photonics West in San Jose, CA, 1.000 exhibitors and more than 15.000 visitors are expected. The Laser. World of Photonics 2007 in Munich (June) will be even bigger. It is a "can't miss" event particularly for those visitors interested in Laser material processing. The Laser Technik Journal will be on both shows. Please stop by at the Wiley booth, for a chat or to see the latest from the Wiley book program! [source]

The Bishops' Ban of 1599 and the Ideology of English Satire

LITERATURE COMPASS (ELECTRONIC), Issue 5 2010
William R. Jones
On June 1, 1599, the Archbishop of Canterbury and the Bishop of London banned the further printing of satires, epigrams, and unlicensed histories and plays. Furthermore, the order demanded the immediate recall and burning of specific works, many of which were verse imitations of the Roman satirist Juvenal. Although the order itself lacks specific motivational language, current explanations tend to foreground the potentially obscene and/or libelous nature of the recalled works. Comparatively little attention has been paid, however, to the internal ideologies of the banned satires themselves and to the dialogue between the satires and the cultural and political conditions that inspired them. Instead of an ad hoc response to any one particular transgression, this essay argues for the Ban as an attempt to stem the growing cultural influence of a particularly unorthodox mode of Juvenalian imitative satire expressed most forcefully in John Marston's banned work, The Scourge of Villanie. Marston's rejection of all established belief systems, especially the conservative literary traditions of native English and Horatian imitative satire, in favor of a highly individualistic and indecorous mode of social representation, was simply too ideologically destabilizing for the bishops to tolerate. In support of this reading, two relatively underexplored pieces of evidence are examined: first, the reprieve granted to Joseph Hall's imitative satire entitled Virgidemiarum, which attempts to negotiate an ideologically safe middle-ground between the radical Juvenalian mode and the conservative Horatian tradition; and second, the contemporary reflections on the bishops' prohibition within John Weever's 1599 Epigrams, his 1600 pastoral Faunus and Melliflora, and his 1601 direct attack on Marston in The Whipping of the Satyre. Weever's support of the bishops' actions derives from his identification of the banned Juvenalian mode as not merely morally offensive or personally defamatory, but as a tangible threat to the ideological stability of the English nation. [source]