German Gothic Literature

Origins, Adaptations, Transformations
Herausgeber: Maughan, Curtis; High, Jeffrey

• Gebundenes Buch

Produktbeschreibung

This collection not only provides a starting point for students and researchers of Gothic Studies interested in the variations and adaptations within the German tradition, but it also serves as a primer for Germanists interested in establishing--or reevaluating--the place of the Gothic in German literary and cultural history.

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Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.

Produktdetails

• Verlag: Anthem Press
• Seitenzahl: 280
• Erscheinungstermin: 11. März 2025
• Englisch
• Abmessung: 229mm x 152mm x 25mm
• Gewicht: 454g
• ISBN-13: 9781839990069
• ISBN-10: 1839990066
• Artikelnr.: 68411615

Autorenporträt

Jeffrey L. High received his PhD from the University of Massachusetts, Amherst and is Professor of German Studies at California State University, Long Beach, as well as Guest Professor at the German Summer School of the Pacific. Curtis L. Maughan received his PhD from Vanderbilt University and is the Director of the World Languages and Digital Humanities Studio at the University of Arkansas, where he also serves as a Teaching Assistant Professor of World Languages and Digital Technology.

Inhaltsangabe

Introduction; Part I: First Wave German Gothic Literature (1773 – 1817);
Chapter One: Alexander Košenina (University of Hannover), “Schiller and the
(short) German Crime Novel”; Chapter Two: Sophia Clark (Central Oklahoma
University), “Midnight Rides, Death, and Spectres: Early German Gothic
Poetry (1770s—1790s)”; Chapter Three: Jeffrey L. High (California State
University, Long Beach), “The Arrival: British Reception of German Gothic
Literature”; Chapter Four: Seán Allan (University of St. Andrews), “Kleist
and the Gothic Novella”; Chapter Five: Jeffrey L. High (California State
University, Long Beach), “Mereau, Brentano, Kleist, Wieland, and the
Spanish Gothic of María de Zayas”; Chapter Six: Carrie Collenberg-González
(Portland State University), “‘It was a dark and stormy night’: The Legacy
of Gespensterbuch and Fantasmagoria” ; Part II: Second Wave German Gothic
and Romanticism (1818 – 1906); Chapter Seven: Daniel Purdy (Pennsylvania
State University), “Enclosure without Transcendence: Hegel’s Cathedral and
Gothic Literature”; Chapter Eight: Christopher Burwick (Hamilton College),
“Cannibalism, Infanticide, and Red Weddings: The Uncanny and the Collective
Imagination in German Folklore”; Chapter Nine: Andrew Cusack (University of
St. Andrews), “Beyond Romanticism: Re-Reading Tieck and Hoffmann as German
Gothic”; Chapter Ten: Melissa Etzler (Butler University), “‘Da wurden die
Dinge rings um mich lebendig’ (Then, everything around me came to life):
The Transatlantic Ecogothic from Poe to Meyrink”; Part III: Reboot and
Afterlife (1908 – present); Chapter Eleven: Elaine Chen (Harvard
University), “‘Ganz von Zierat erdrückt!’: Jugendstil Design in the
Neo-Gothic Works of Thomas Mann, Stefan Zweig, and Franz Kafka”; Chapter
Twelve: Kai-Uwe Werbeck (University of North Carolina, Charlotte),
“Mysterious Caverns, Desolate Mountains, and Haunted Castles: The Gothic in
German Postwar Horror Cinema”; Chapter Thirteen: Sarah Koellner (College of
Charleston), “Following Ariadne's Thread: On Gothic Imaginations and
Mythological Corrections in the German Netflix Series Dark”; Chapter
Fourteen: Natalie Martz (University of Oxford) and Curtis Maughan
(University of Arkansas), “The German Gothic Videogame”; Chapter Fifteen:
Jeffrey L. High (California State University, Long Beach) and Natalie Martz
(University of Oxford), “U.S. German Gothic Literature Reception from
Irving to Stephen King”