Irmtraud Huber – författare

In this book, Irmtraud Huber considers a wide range of contemporary novels to explore the variety of possibilities and effects of the use of the present tense, as well as investigating  the reasons for its popularity. By illustrating the complexity and sophistication of four different types of contemporary usage, Huber’s discussion goes some way towards refuting those critical voices which consider present-tense narration a passing fad and stylistic affectation. As a tense of narration, the present can serve to tell different stories than the past tense, or can tell them differently. By no means a passing fad, it is an important characteristic of contemporary literature.

In this book, Irmtraud Huber considers a wide range of contemporary novels to explore the variety of possibilities and effects of the use of the present tense, as well as investigating  the reasons for its popularity. By illustrating the complexity and sophistication of four different types of contemporary usage, Huber’s discussion goes some way towards refuting those critical voices which consider present-tense narration a passing fad and stylistic affectation. As a tense of narration, the present can serve to tell different stories than the past tense, or can tell them differently. By no means a passing fad, it is an important characteristic of contemporary literature.

In this book, Irmtraud Huber considers a wide range of contemporary novels to explore the variety of possibilities and effects of the use of the present tense, as well as investigating  the reasons for its popularity. By illustrating the complexity and sophistication of four different types of contemporary usage, Huber’s discussion goes some way towards refuting those critical voices which consider present-tense narration a passing fad and stylistic affectation. As a tense of narration, the present can serve to tell different stories than the past tense, or can tell them differently. By no means a passing fad, it is an important characteristic of contemporary literature.

Demonstrates what Victorian poetry tells us about the relationship between poetry and timeBrings together various aspects of Victorian poetry under one coherent perspective (changing concepts of time)Discusses a wide range of texts by well-known as well as less familiar Victorian poets Interrogates the historical basis of widely held theoretical assumptions (e.g. the opposition between metre and rhythm, the juxtaposition of temporal narrative and timeless lyric)Presents an analytical framework for the analysis of poetic time structuresCombines historical analysis with a sustained focus on the role of aesthetic formTime and Timelessness in Victorian Poetry explores the question of poetry's relation to time and argues that this relation is historically contingent as the concept of time changes, so too do the shaping forms and definitions of poetry. Victorian literature provides a rich testing field for its hypothesis, since the nineteenth century saw momentous changes in the ways people thought about and experienced time. This book demonstrates that these changes were an important factor for some of the long-term developments in Victorian poetry, like its loss of cultural prestige, the popularity of mixed genres like the poetic sequence, the dramatic monologue and the verse novel, and the demise of metrical poetry as the norm. Moreover, the historical perspective offered questions some widely held assumptions, not only about poetry, but also about time itself. Thus, the theoretical relevance of this study extends well beyond its Victorian context.

Time and Timelessness in Victorian Poetry explores the question of poetry's relation to time and argues that this relation is historically contingent as the concept of time changes, so too do the shaping forms and definitions of poetry. Victorian literature provides a rich testing field for its hypothesis, since the nineteenth century saw momentous changes in the ways people thought about and experienced time. This book demonstrates that these changes were an important factor for some of the long-term developments in Victorian poetry, like its loss of cultural prestige, the popularity of mixed genres like the poetic sequence, the dramatic monologue and the verse novel, and the demise of metrical poetry as the norm. Moreover, the historical perspective offered questions some widely held assumptions, not only about poetry, but also about time itself. Thus, the theoretical relevance of this study extends well beyond its Victorian context.

This Handbook of Poetic Forms aims to offer historically informed approaches to a wide variety of poetic forms. A particular emphasis will be on considering poetic form in dialogue with the cultural context in which it is being used, as well as within the literary tradition of each form, and to explore the stable as well as the historically variable affordances of each form in such contexts. Hereby, the focus lies on prescriptive forms, that is, on poetic forms which are defined by or at least associated with specific metrical, stanzaic or overall structures (or the absence of such), rather than poetic genres that are primarily characterised by similarities in subject matter (like the elegy or the ode). While this Handbook should be accessible to students, its aim is not to offer basic introductions, but rather to broaden a historical and functional understanding of the poetic forms it covers, and to engage with poetic forms not as givens, but as historically-contingent processes of formation. Above all, this Handbook’s formalism is new formalist in emphasising historical awareness and contextualisation.