Interest in travel writing has grown rapidly within the disciplines of postcolonial and cultural studies; however, recent scholarship has failed to place travel writing within the larger literary tradition. Writing Travel assembles a superb collection of essays that demonstrate how travel attempts to reconfigure the world and, in so doing, to become a metaphor for imagination, subjectivity, and representation itself. Examining a broad range of texts and travellers from across the world, the contributors discuss canonical authors such as Homer, Goethe, and Baudelaire, alongside lesser known writers such as Theodor Herzl, Hans Erich Nossack, and William Gibson. This theoretically rich volume draws connections between travel and narrative, and provides powerful insights into the relationship between travel and the spoken act of storytelling, as well as the more ambivalent act of story writing. An engaging collection of essays by first-rate scholars, Writing Travel is an illuminating exploration of the history of travel writing, its influence on other literary genres, and the origins of narrative.
Richly nuanced and firmly grounded in literature, biography, and history, The Language of Trauma analyses three major central European writers, revealing how they incorporated and responded to psychological and historical trauma.
Winner of the Friedrich Wilhelm Bessel Research Award Around 1900, when the last blank spaces on their maps were filled, Europeans traveled to far-flung places hoping to find the spectacularly foreign. They discovered instead what Freud called, several years later, the uncannily familiar: disturbing reflections of themselves—either actual Europeans or Westernized natives. This experience was most extreme for German travelers, who arrived in the contact zones late, on the heels of other European colonialists, and it resulted not in understanding or tolerance but in an increased propensity for violence and destruction. The quest for a “virginal,” exotic existence proved to be ruined at its source, mirroring back to the travelers demonic parodies of their own worst aspects. In this strikingly original book, John Zilcosky demonstrates how these popular “uncanny” encounters influenced Freud’s—and the literary modernists’—use of the term, and how these encounters remain at the heart of our cross-cultural anxieties today.
In late nineteenth-century Germany, the onset of modernity transformed how people experienced place. In response to increased industrialization and urbanization, the expansion of international capitalism, and the extension of railway and other travel networks, the sense of being connected to a specific place gave way to an unsettling sense of displacement. Out of Place analyzes the works of three major representatives of German Realism-Wilhelm Raabe, Theodor Fontane, and Gottfried Keller-within this historical context. It situates the perceived loss of place evident in their texts within the contemporary discourse of housing and urban reform, but also views such discourse through the lens of twentienth-century theories of place. Informed by both phenomenological (Heidegger and Casey) as well as Marxist (Deleuze, Guattari, and Benjamin) approaches to place, John B. Lyon highlights the struggle to address issues of place and space that reappear today in debates about environmentalism, transnationalism, globalization, and regionalism.
While his memory languished under Nazi censorship, Franz Kafka covertly circulated through occupied France and soon emerged as a cultural icon, read by the most influential intellectuals of the time as a prophet of the rampant bureaucracy, totalitarian oppression, and absurdity that branded the twentieth century. In tracing the history of Kafka's reception in postwar France, John T. Hamilton explores how the work of a German-Jewish writer from Prague became a modern classic capable of addressing universal themes of the human condition. Hamilton also considers how Kafka's unique literary corpus came to stimulate reflection in diverse movements, critical approaches, and philosophical schools, from surrealism and existentialism through psychoanalysis, phenomenology, and structuralism to Marxism, deconstruction, and feminism. The story of Kafka's afterlife in Paris thus furnishes a key chapter in the unfolding of French theory, which continues to guide how we read literature and understand its relationship to the world.
In Herder: Aesthetics against Imperialism, John K. Noyes plumbs the connections between Herder s anti-imperialism, often acknowledged but rarely explored in depth, and his epistemological investigations.
Fritz Bennewitz (1926-1995) was the director-in-chief of East Germany's Weimar National Theatre. Extraordinary in his capacity for cultural and linguistic adjustment, he directed productions in twelve countries, always adapting shows to make them meaningful to local audiences. Notably, Bennewitz conducted stagings of Goethe's Faust in four different languages over a series of seven productions — three in pre-unification Weimar, one in the reunited Germany, and one each in New York, Manila, and Mumbai. The first comprehensive account of Bennewitz's remarkable career, Bennewitz, Goethe, Faust is also a pioneering study of intercultural interpretations of Faust. David G. John brings to light previously unknown archival materials — including annotated playbooks, correspondence, translations, videos, and reception information — as well as unpublished production photos from the stagings discussed in the book. Bennewitz, Goethe, Faust makes a cogent argument for this director's place alongside the twentieth century's greatest theatre innovators.
Once the playgrounds and raw material for the avantgarde, abandoned places and things—decommissioned military sites, postindustrial spaces, contested and forgotten edgelands—are now just as likely to be seen as assets for entrepreneurs or connoisseurs of the authentically worn-out. This is the age of patina, where the material remains of times past—the fields and factories, test sites, back alleys, machines, and statues—are coveted, adored, mourned, and commemorated, as well as sometimes despised. Through an exploration of a wide range of recent film, photography, art, and writing about place, Landscape as Weapon argues that these abandoned sites are a critical arena for debate about the meaning of space and time under late capitalism.
In 1916, Kafka writes of The Sugar Baron , a dime-store colonial adventure novel, '[it] affects me so deeply that I feel it is about myself, or as if it were the book of rules for my life.' John Zilcosky reveals that this perhaps surprising statement - made by the Prague-bound poet of modern isolation - is part of a network of remarks that exemplify Kafka's ongoing preoccupation with popular travel writing, exoticism, and colonial fantasy. Taking this biographical peculiarity as a starting point, Kafka's Travels elegantly re-reads Kafka's major works ( Amerika , The Trial , The Castle ) through the lens of fin-de siecle travel culture. Making use of previously unexplored literary and cultural materials - travel diaries, train schedules, tour guides, adventure novels - Zilcosky argues that Kafka's uniquely modern metaphorics of alienation emerges out of the author's complex encounter with the utopian travel discourses of his day.
Richly nuanced and firmly grounded in literature, biography, and history, The Language of Trauma analyses three major central European writers, revealing how they incorporated and responded to psychological and historical trauma.
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