Aus unseren Neuerwerbungen – Anglistik 2025.6

A cor­pus styl­is­tics approach to con­tem­po­rary present-tense narrative
Focus­ing on the grow­ing trend of employ­ing the present tense in sto­ry­telling, this book explores present-tense nar­ra­tive in con­tem­po­rary fic­tion. Using a cor­pus approach, speech, writ­ing, and thought pre­sen­ta­tion in 21st-cen­tu­ry present-tense nar­ra­tive is com­pared with 20th-cen­tu­ry past-tense nar­ra­tive. An in-depth com­par­a­tive analy­sis reveals pre­vi­ous­ly undis­cov­ered inno­v­a­tive fea­tures spe­cif­ic to how char­ac­ter dis­course is pre­sent­ed in mod­ern nar­ra­tives. Notably, nar­ra­tive tens­es have an impact on thought pre­sen­ta­tion; in present-tense nar­ra­tive, Free Direct Thought (FDT) emerges as fre­quent­ly as Free Indi­rect Thought (FIT), a depar­ture from the dom­i­nance of FIT in mod­ern past-tense nar­ra­tive. This book will be of inter­est to styl­is­ti­cians, nar­ra­tol­o­gists, cor­pus lin­guists, and those who have found them­selves absorbed in a 21st-cen­tu­ry work of present-tense fiction.
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Shake­speare­an Ethics in Extrem­i­ty: Phe­nom­e­nol­o­gy, The­ater, Experience
Shake­speare­an Ethics in Extrem­i­ty address­es forms of eth­i­cal expe­ri­ence on the Shake­speare­an stage. Ear­ly mod­ern the­ater traf­fics in the vic­ar­i­ous expe­ri­ence of ethics, often ethics in some extreme or impos­si­ble cir­cum­stance. What does it feel like to be enjoined to avenge your father’s mur­der? What is it like to ban­ish your daugh­ter or dis­avow your com­mu­ni­ty? To mur­der? This book con­tends that Shake­speare­an the­ater, fun­da­men­tal­ly ori­ent­ed to the expe­ri­en­tial, invites its audi­ences to enter­tain and to be enter­tained by what the philoso­pher Bernard Williams calls “a phe­nom­e­nol­o­gy of the eth­i­cal life.” The ear­ly mod­ern world inher­it­ed and devel­oped rhetor­i­cal and philo­soph­i­cal prac­tices geared toward the cre­ation of immer­sive vir­tu­al expe­ri­ence. These phe­nom­e­no­log­i­cal arts share under­ly­ing assump­tions about the cul­ti­va­tion and man­age­ment of the self as well as a straight­for­ward ori­en­ta­tion toward ethics. Tak­ing up key con­cepts from the long his­to­ry of moral philosophy—recognition, oblig­a­tion, deci­sion, luck—Shake­speare­an Ethics in Extrem­i­ty brings togeth­er a dis­cur­sive his­to­ry of ideas and the more phe­nom­e­no­log­i­cal realms of body and affect, envi­ron­ment and world. With a con­cen­trat­ed focus on for­mal­ly inven­tive plays writ­ten in the lat­er part of Shakespeare’s the­atri­cal career—King Lear, Tim­on of Athens, Mac­beth, Per­i­cles, The Tem­pest, The Winter’s Tale—the book explores Shake­speare­an the­ater as an are­na or lab in which the expe­ri­ence of ethics in extrem­is is sim­u­lat­ed or reverse engi­neered, coun­ter­feit­ed or created.
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