Kári Driscoll – författare

Contrary to the apocalyptic pronouncements of paper media's imminent demise in the digital age, there has been a veritable surge of creative reimaginings of books as bearers of the literary. From typographic experiments (Mark Z. Danielewski’s House of Leaves, Steven Hall’s The Raw Shark Texts) to accordion books (Anne Carson’s Nox), from cut ups (Jonathan Safran Foer’s Tree of Codes) to collages (Graham Rawle’s Woman’s World), from erasures (Mary Ruefle’s A Little White Shadow) to mixups (Simon Morris’s The Interpretations of Dreams), print literature has gone through anything but a slow, inevitable death. In fact, it has re-invented itself materially.Starting from this idea of media plurality, Book Presence in a Digital Age explores the resilience of print literatures, book art, and zines in the late age of print from a contemporary perspective, while incorporating longer-term views on media archeology and media change. Even as it focuses on the materiality of books and literary writing in the present, Book Presence also takes into consideration earlier 20th-century "moments" of media transition, developing the concepts of presence and materiality as analytical tools to perform literary criticism in a digital age. Bringing together leading scholars, artists, and publishers, Book Presence in a Digital Age offers a variety of perspectives on the past, present, and future of the book as medium, the complex relationship of materiality to virtuality, and of the analog to the digital.

Contrary to the apocalyptic pronouncements of paper media's imminent demise in the digital age, there has been a veritable surge of creative reimaginings of books as bearers of the literary. From typographic experiments (Mark Z. Danielewski's House of Leaves, Steven Hall's The Raw Shark Texts) to accordion books (Anne Carson's Nox), from cut ups (Jonathan Safran Foer's Tree of Codes) to collages (Graham Rawle's Woman's World), from erasures (Mary Ruefle's A Little White Shadow) to mixups (Simon Morris's The Interpretations of Dreams), print literature has gone through anything but a slow, inevitable death. In fact, it has re-invented itself materially.Starting from this idea of media plurality, Book Presence in a Digital Age explores the resilience of print literatures, book art, and zines in the late age of print from a contemporary perspective, while incorporating longer-term views on media archeology and media change. Even as it focuses on the materiality of books and literary writing in the present, Book Presence also takes into consideration earlier 20th-century "moments" of media transition, developing the concepts of presence and materiality as analytical tools to perform literary criticism in a digital age. Bringing together leading scholars, artists, and publishers, Book Presence in a Digital Age offers a variety of perspectives on the past, present, and future of the book as medium, the complex relationship of materiality to virtuality, and of the analog to the digital.

Contrary to the apocalyptic pronouncements of paper media's imminent demise in the digital age, there has been a veritable surge of creative reimaginings of books as bearers of the literary. From typographic experiments (Mark Z. Danielewski's House of Leaves, Steven Hall's The Raw Shark Texts) to accordion books (Anne Carson's Nox), from cut ups (Jonathan Safran Foer's Tree of Codes) to collages (Graham Rawle's Woman's World), from erasures (Mary Ruefle's A Little White Shadow) to mixups (Simon Morris's The Interpretations of Dreams), print literature has gone through anything but a slow, inevitable death. In fact, it has re-invented itself materially.Starting from this idea of media plurality, Book Presence in a Digital Age explores the resilience of print literatures, book art, and zines in the late age of print from a contemporary perspective, while incorporating longer-term views on media archeology and media change. Even as it focuses on the materiality of books and literary writing in the present, Book Presence also takes into consideration earlier 20th-century "moments" of media transition, developing the concepts of presence and materiality as analytical tools to perform literary criticism in a digital age. Bringing together leading scholars, artists, and publishers, Book Presence in a Digital Age offers a variety of perspectives on the past, present, and future of the book as medium, the complex relationship of materiality to virtuality, and of the analog to the digital.

Contrary to the apocalyptic pronouncements of paper media's imminent demise in the digital age, there has been a veritable surge of creative reimaginings of books as bearers of the literary. From typographic experiments (Mark Z. Danielewski’s House of Leaves, Steven Hall’s The Raw Shark Texts) to accordion books (Anne Carson’s Nox), from cut ups (Jonathan Safran Foer’s Tree of Codes) to collages (Graham Rawle’s Woman’s World), from erasures (Mary Ruefle’s A Little White Shadow) to mixups (Simon Morris’s The Interpretations of Dreams), print literature has gone through anything but a slow, inevitable death. In fact, it has re-invented itself materially.Starting from this idea of media plurality, Book Presence in a Digital Age explores the resilience of print literatures, book art, and zines in the late age of print from a contemporary perspective, while incorporating longer-term views on media archeology and media change. Even as it focuses on the materiality of books and literary writing in the present, Book Presence also takes into consideration earlier 20th-century "moments" of media transition, developing the concepts of presence and materiality as analytical tools to perform literary criticism in a digital age. Bringing together leading scholars, artists, and publishers, Book Presence in a Digital Age offers a variety of perspectives on the past, present, and future of the book as medium, the complex relationship of materiality to virtuality, and of the analog to the digital.

This book brings together essays dealing with the question of zoopoetics both as an object of study—i.e. texts from various traditions and periods that reflect, explicitly or implicitly, on the relationship between animality, language and representation—and as a methodological problem for animal studies, and, indeed, for literary studies more generally. What can literary animal studies tell us about literature that conventional literary studies might be blind to? How can literary studies resist the tendency to press animals into symbolic service as metaphors and allegories for the human whilst also avoiding a naïve literalism with respect to the literary animal? The volume is divided into three sections: “Texts,” which focuses on the linguistic and metaphorical dimensions of zoopoetics; “Bodies,” which is primarily concerned with mimesis and questions of embodiment, performance, and lived experience; and “Entanglement,” which focuses on interspecies encounters and the complex interplay between word and world that emerges from them. The volume will appeal to scholars and students in the fields of animal studies, area studies and comparative literature, gender studies, environmental humanities, ecocriticism, and the broader field of posthumanism.

This book brings together essays dealing with the question of zoopoetics both as an object of study—i.e. texts from various traditions and periods that reflect, explicitly or implicitly, on the relationship between animality, language and representation—and as a methodological problem for animal studies, and, indeed, for literary studies more generally. What can literary animal studies tell us about literature that conventional literary studies might be blind to? How can literary studies resist the tendency to press animals into symbolic service as metaphors and allegories for the human whilst also avoiding a naïve literalism with respect to the literary animal? The volume is divided into three sections: “Texts,” which focuses on the linguistic and metaphorical dimensions of zoopoetics; “Bodies,” which is primarily concerned with mimesis and questions of embodiment, performance, and lived experience; and “Entanglement,” which focuses on interspecies encounters and the complex interplay between word and world that emerges from them. The volume will appeal to scholars and students in the fields of animal studies, area studies and comparative literature, gender studies, environmental humanities, ecocriticism, and the broader field of posthumanism.

Um 1900 gerät das Mensch-Tier-Verhältnis in den Sog evolutionistischer, esoterischer und poetischer Diskurse. Im Grenzbereich von menschlichem und nicht-menschlichem Leben formieren sich wirkmächtige Ideologien und Mythen, die das Differenzschema von Mensch und Tier fundamental angreifen, unterlaufen oder aufkündigen.Der vorliegende Band interessiert sich für jene literarischen und theoretischen Interventionen, die affirmativ bis euphorisch auf die evolutionsbiologisch begründete Nähe zum Animalischen reagieren. Mit dem Sammelband wird eine dezidiert literaturwissenschaftliche Annäherung an die bizarren und mitunter gar erschreckenden Erscheinungsformen anvisiert, in denen sich das Menschliche und das Nicht-Menschliche körperlich, institutionell, geschichtlich und nicht zuletzt semiotisch überkreuzen.Untersucht werden Sprachformen und Sprechweisen, die auf Tiere Bezug nehmen, Diskurse, die die Vorstellungen von Tiersein und Menschsein konstituieren oder eben auflösen, sowie die Variationen einer literarischen Sprache, die Tierisches in Texten zu inszenieren vermag. Gefragt wird zudem nach dem Unheimlichen und Abgründigen, das gerade am Haus- und Dressurtier in Erscheinung tritt. Auf eine verstörende und bislang kaum erhellte Konstellation machen die gesammelten Beiträge so aufmerksam: dass nämlich Mensch-Tier-Beziehungen um 1900, zwischen Liebe und Grausamkeit, Bio-Utopien und sozialer Krisenstimmung oszillierend, Tierliebe und Misanthropie mitunter auf bedenkliche Weise spiegeln.