The book explores the discursive and theoretical conditions for conceptualizing the postethnic literary. It historicizes US multicultural and postcolonial studies as institutionalized discursive formations, which constitute a paratext that regulates the reception of literary texts according to the paradigm of representativeness. Rather than following that paradigm, the study offers an alternative framework by rereading contemporary literary texts for their investment in literary form. By means of self-reflective intermedial transpositions, the writings of Sherman Alexie, Chang-rae Lee, and Jamaica Kincaid insist upon a differentiation between the representation of cultural sign systems or subject positions and the dramatization of individual gestures of authorship. As such, they form a postethnic literary constellation, further probed in the epilogue of the study focused on Dave Eggers.

The book explores the discursive and theoretical conditions for conceptualizing the postethnic literary. It historicizes US multicultural and postcolonial studies as institutionalized discursive formations, which constitute a paratext that regulates the reception of literary texts according to the paradigm of representativeness. Rather than following that paradigm, the study offers an alternative framework by rereading contemporary literary texts for their investment in literary form. By means of self-reflective intermedial transpositions, the writings of Sherman Alexie, Chang-rae Lee, and Jamaica Kincaid insist upon a differentiation between the representation of cultural sign systems or subject positions and the dramatization of individual gestures of authorship. As such, they form a postethnic literary constellation, further probed in the epilogue of the study focused on Dave Eggers.

Modernity is made and unmade by the anecdotal. Conceived as a literary genre, a narrative element of criticism, and, most crucially, a mode of historiography, the anecdote illuminates the convergences as well as the fault lines cutting across modern practices of knowledge production. The volume explores uses of the anecdotal in exemplary case studies from the threshold of the early modern to the present.

Modernity is made and unmade by the anecdotal. Conceived as a literary genre, a narrative element of criticism, and, most crucially, a mode of historiography, the anecdote illuminates the convergences as well as the fault lines cutting across modern practices of knowledge production. The volume explores uses of the anecdotal in exemplary case studies from the threshold of the early modern to the present.

Die Gattungsbewegungen der Kriminalliteratur und deren erzählerische Formen sind unauflöslich mit der Herausbildung neuer Wissensordnungen im 19. und 20. Jahrhundert verbunden. Als Kreuzungspunkt dieser epistemischen Ordnungen erscheint die Kriminologie, die sowohl an der Identifizierung des Verbrechens als auch an einem umfangreichen Wissen über Devianzen und Verbrechertypologien arbeitet.Die Beiträge des Bandes verstehen die Genres der Kriminalliteratur als Schauplatz dieser Diskurse und ihrer Inszenierungsmöglichkeiten. Damit rückt das Verhältnis von Techniken der Narration und der Spurensicherung sowie von medialen Praktiken und der Produktion von Subjektpositionen in den Blick.

The book explores the discursive and theoretical conditions for conceptualizing the postethnic literary. It historicizes US multicultural and postcolonial studies as institutionalized discursive formations, which constitute a paratext that regulates the reception of literary texts according to the paradigm of representativeness. Rather than following that paradigm, the study offers an alternative framework by rereading contemporary literary texts for their investment in literary form. By means of self-reflective intermedial transpositions, the writings of Sherman Alexie, Chang-rae Lee, and Jamaica Kincaid insist upon a differentiation between the representation of cultural sign systems or subject positions and the dramatization of individual gestures of authorship. As such, they form a postethnic literary constellation, further probed in the epilogue of the study focused on Dave Eggers.

The book explores the discursive and theoretical conditions for conceptualizing the postethnic literary. It historicizes US multicultural and postcolonial studies as institutionalized discursive formations, which constitute a paratext that regulates the reception of literary texts according to the paradigm of representativeness. Rather than following that paradigm, the study offers an alternative framework by rereading contemporary literary texts for their investment in literary form. By means of self-reflective intermedial transpositions, the writings of Sherman Alexie, Chang-rae Lee, and Jamaica Kincaid insist upon a differentiation between the representation of cultural sign systems or subject positions and the dramatization of individual gestures of authorship. As such, they form a postethnic literary constellation, further probed in the epilogue of the study focused on Dave Eggers.

Modernity is made and unmade by the anecdotal. Conceived as a literary genre, a narrative element of criticism, and, most crucially, a mode of historiography, the anecdote illuminates the convergences as well as the fault lines cutting across modern practices of knowledge production. The volume explores uses of the anecdotal in exemplary case studies from the threshold of the early modern to the present.

Modernity is made and unmade by the anecdotal. Conceived as a literary genre, a narrative element of criticism, and, most crucially, a mode of historiography, the anecdote illuminates the convergences as well as the fault lines cutting across modern practices of knowledge production. The volume explores uses of the anecdotal in exemplary case studies from the threshold of the early modern to the present.

Die Gattungsbewegungen der Kriminalliteratur und deren erzählerische Formen sind unauflöslich mit der Herausbildung neuer Wissensordnungen im 19. und 20. Jahrhundert verbunden. Als Kreuzungspunkt dieser epistemischen Ordnungen erscheint die Kriminologie, die sowohl an der Identifizierung des Verbrechens als auch an einem umfangreichen Wissen über Devianzen und Verbrechertypologien arbeitet.Die Beiträge des Bandes verstehen die Genres der Kriminalliteratur als Schauplatz dieser Diskurse und ihrer Inszenierungsmöglichkeiten. Damit rückt das Verhältnis von Techniken der Narration und der Spurensicherung sowie von medialen Praktiken und der Produktion von Subjektpositionen in den Blick.