Aus unseren Neuerwerbungen – Anglistik 2022.8

Water and Women in the Vic­to­ri­an Imag­i­na­tion
BuchcoverDur­ing the Vic­to­ri­an peri­od, nat­u­ral­ly wet spaces – marsh­land, rivers and the sea – were con­strued as fem­i­nised loci, artic­u­lat­ing con­trast­ed visions of Woman as the angel­ic Undine or the demon­ic Siren. This essen­tialised the con­cept of fem­i­nine flu­id­i­ty at the same time as it sup­port­ed the con­struc­tion of a stan­dard mas­culin­i­ty defined by sta­bil­i­ty. The conun­drum of solid­i­ty ver­sus liq­uid­i­ty cre­at­ed a dialec­ti­cal bond which was often one of sub­jec­tion: water had to serve mat­ter. It had to be puri­fied, tamed and chan­nelled to become an avail­able and reli­able com­mod­i­ty.
The facts, objects, texts of fic­tion and non-fic­tion, art and oth­er visu­al sources pre­sent­ed in this vol­ume may seem to share noth­ing oth­er than their con­cerns with water and women in nine­teenth-cen­tu­ry Britain. Yet, by jux­ta­pos­ing the fig­ures of Ophe­lia and the Mer­maid, scenes of ship­wrecks, accounts of hydrother­a­py cures, acts of Par­lia­ment on san­i­ta­tion, and oth­er mate­r­i­al, the author argues that these var­i­ous and appar­ent­ly unre­lat­ed texts con­verge towards a cen­tral myth­i­cal fig­ure, the «water woman».
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Com­par­a­tive Print Cul­ture: A Study of Alter­na­tive Lit­er­aryBuchcover
Draw­ing on com­par­a­tive lit­er­ary stud­ies, post­colo­nial book his­to­ry, and mul­ti­ple, lit­er­ary, and alter­na­tive moder­ni­ties, this col­lec­tion approach­es the study of alter­na­tive lit­er­ary moder­ni­ties from the per­spec­tive of com­par­a­tive print cul­ture. The term com­par­a­tive print cul­ture des­ig­nates a wide range of schol­ar­ly prac­tices that dis­cov­er, exam­ine, doc­u­ment, and/or his­tori­cize var­i­ous print­ed mate­ri­als and their repro­duc­tion, cir­cu­la­tion, and uses across gen­res, lan­guages, media, and tech­nolo­gies, all with­in a com­par­a­tive ori­en­ta­tion. This book explores alter­na­tive lit­er­ary moder­ni­ties most­ly by high­light­ing the dis­tinct ways in which lit­er­ary and cul­tur­al print moder­ni­ties out­side Europe evince the repur­pos­ing of Euro­pean sys­tems and cul­tures of print and fur­ther decon­struct their per­ceived uni­ver­sal­i­ty.
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