Narratives of Working Women in Early Modern London: Gendering the City analyzes depictions of non-elite, working women in relation to specific London neighborhoods and sites in early modern drama and culture from primarily the late sixteenth to the mid-seventeenth century.
Intrigues et infidélités amoureuses viennent troubler la vie de gens ordinaires, les plongeant dans le maelstrom des passions et des vilenies humaines.
Der traditionell behauptete Gattungsunterschied von wahrheitsorientierter philosophischer Prosa und fiktionaler Literatur stellt sich nicht zuletzt dann als problematisch heraus, wenn Formen des Denkens und Erkennens aus der Betrachtung herausfallen, die sich keinem der beiden Modelle zuordnen lassen.
Originally published in 1920, The Quintessence of Bernard Shaw, the title a play on Shaw's own essay The Quintessence of Ibsenism, offered a coherent review of his ideas mainly, though not exclusively, as expressed in his plays and prefaces.
Providing the reader with a systematic study of visual subjectivity in comparative thought and literature, this book analyses the role that vision and visuality, especially interpersonal visuality, plays in the constitution of subject and subjectivity in Chinese and American traditions.
In The Shavian Playground, originally published in 1972, Shaw's plays are examined as self-contained imaginative structures intended for theatrical performance.
Ominous Homelands in World Cinema examines contemporary films from a range of national settings that expose and critically engage with representations of "e;Homeland"e; - a term that resurfaced with renewed intensity in the United States through the establishment of the Department of Homeland Security after 9/11 and gained traction across Europe, contributing to the formation of new securitarian configurations whose impact has resonated globally.
Samuel Joseph Agnon, Psychoanalysis and Jewish History: A Comparative Study compares the writings of Samuel Joseph Agnon (1887-1970) with other writers, including Gustav Flaubert, Franz Kafka, D.
Dass Kritik nach dem Ende der großen Geschichte(n) weder als Lehre noch als Aufklärung, sondern als Reflexiv- und Problematisch-Werden von Entscheidungsprozeduren und Urteilsformen gedacht werden kann, souffliert Alexander Kluges Kunst- und Medienarbeit seit den frühen 60er-Jahren.
