Marion Gymnich – författare

This book is grounded in the belief that every nation had its own ‘Great War’, and that children’s picture books are an important barometer of each country’s national approach.To explore the depiction of the Great War in modern Australian, British, and French children’s picture books, where this historical event is reimagined in different ways as a futile conflict, as a painful victory, and as part of one country’s founding mythology, this book uses the concept of the hero’s journey as an underlying framework. It claims that this monomythic pattern, as developed by Joseph Campbell and modified by Christopher Vogler, not only informs all picture books selected for this project but can also be used to highlight the extent to which modern children’s picture book authors and illustrators conform to their respective nation’s cultural memory.It further maintains that the specific historical context of the Great War in these children’s picture books can be used to identify a variant of the hero’s journey: the ‘ordinary soldier’s journey’. This analysis of children’s picture books about the Great War through the lens of Campbell’s hero’s journey will be of interest to both students and researchers in the fields of children’s literature, literary theory, history, cultural studies, and education.

This book is grounded in the belief that every nation had its own 'Great War', and that children's picture books are an important barometer of each country's national approach.To explore the depiction of the Great War in modern Australian, British, and French children's picture books, where this historical event is reimagined in different ways as a futile conflict, as a painful victory, and as part of one country's founding mythology, this book uses the concept of the hero's journey as an underlying framework. It claims that this monomythic pattern, as developed by Joseph Campbell and modified by Christopher Vogler, not only informs all picture books selected for this project but can also be used to highlight the extent to which modern children's picture book authors and illustrators conform to their respective nation's cultural memory.It further maintains that the specific historical context of the Great War in these children's picture books can be used to identify a variant of the hero's journey: the 'ordinary soldier's journey'. This analysis of children's picture books about the Great War through the lens of Campbell's hero's journey will be of interest to both students and researchers in the fields of children's literature, literary theory, history, cultural studies, and education.

This book is grounded in the belief that every nation had its own 'Great War', and that children's picture books are an important barometer of each country's national approach.To explore the depiction of the Great War in modern Australian, British, and French children's picture books, where this historical event is reimagined in different ways as a futile conflict, as a painful victory, and as part of one country's founding mythology, this book uses the concept of the hero's journey as an underlying framework. It claims that this monomythic pattern, as developed by Joseph Campbell and modified by Christopher Vogler, not only informs all picture books selected for this project but can also be used to highlight the extent to which modern children's picture book authors and illustrators conform to their respective nation's cultural memory.It further maintains that the specific historical context of the Great War in these children's picture books can be used to identify a variant of the hero's journey: the 'ordinary soldier's journey'. This analysis of children's picture books about the Great War through the lens of Campbell's hero's journey will be of interest to both students and researchers in the fields of children's literature, literary theory, history, cultural studies, and education.

In the context of a systematic overview of the possibilities of applying narratological concepts to a study of TV series, ten case studies are explored in depth, demonstrating how series such as 24, Buffy, Twin Peaks, Star Trek, Blackadder, and Sex and the City make use of innovative audiovisual means of storytelling. Transgressing the traditional confines of narrative theory, the chapter authors address the question of how form, content, and function intersect in these series.

An examination of the terms used in specific historical contexts to refer to those people in a society who can be categorized as being in a position of ‘strong asymmetrical dependency’ (including slavery) provides insights into the social categories and distinctions that informed asymmetrical social interactions. In a similar vein, an analysis of historical narratives that either justify or challenge dependency is conducive to revealing how dependency may be embedded in (historical) discourses and ways of thinking. The eleven contributions in the volume approach these issues from various disciplinary vantage points, including theology, global history, Ottoman history, literary studies, and legal history. The authors address a wide range of different textual sources and historical contexts – from medieval Scandinavia and the Fatimid Empire to the history of abolition in Martinique and human rights violations in contemporary society. While the authors contribute innovative insights to ongoing discussions within their disciplines, the articles were also written with a view to the endeavor of furthering Dependency Studies as a transdisciplinary approach to the study of human societies past and present.

Given that strong asymmetrical dependencies have shaped human societies throughout history, this kind of social relation has also left its traces in many types of texts. Using written and oral narratives in attempts to reconstruct the history of asymmetrical dependency comes along with various methodological challenges, as the 15 articles in this interdisciplinary volume illustrate. They focus on a wide range of different (factual and fictional) text types, including inscriptions from Egyptian tombs, biblical stories, novels from antiquity, the Middle High German Rolandslied, Ottoman court records, captivity narratives, travelogues, the American gift book The Liberty Bell, and oral narratives by Caribbean Hindu women. Most of the texts discussed in this volume have so far received comparatively little attention in slavery and dependency studies. The volume thus also seeks to broaden the archive of texts that are deemed relevant in research on the histories of asymmetrical dependencies, bringing together perspectives from disciplines such as Egyptology, theology, literary studies, history, and anthropology.

War captivity is a prolific field of research for studies on strong asymmetrical dependency. The contributions in the present volume examine how POWs and civilian internees in different military conflicts, including the Franco-Prussian War of 1870/71, the two world wars, and the war in Bosnia, have been represented in visual sources. The images of war captivity addressed in the contributions are as heterogeneous as the contexts in which they were produced; they include allegorical representations and official press photographs, amateurish snapshots and propagandistic film recordings, self-drawn camp albums and comics commemorating war. What they have in common, however, is that they not only offer information about POWs and civilian internees but also interpret and emotionalise their experience. Visual sources may, for instance, document how POWs were treated in a particular camp, but they may also stress a certain amount of agency of the POWs; in addition, they may come to play a vital role in how the detaining power is remembered. Images provide evidence of atrocities and comparatively humane treatment alike – and thus may be relevant to the question whether reconciliation might seem possible in the long run.

Das Buch vermittelt die Grundlagen interkultureller Kompetenzen mithilfe gezielter Fragestellungen: Wie entsteht Kultur? Was ist Interkulturalität? Welche Unterschiede gibt es zwischen Kulturen? Wie formt kulturelles Wissen unser Wirklichkeitsbild? Wie hängen Fremdbilder und Identität zusammen? Und wie kommuniziert man erfolgreich mit Mitgliedern anderer Kulturen?Mit vielen übersichtlichen Darstellungen, zahlreichen Begriffsdefinitionen und Fallbeispielen zur vielleicht wichtigsten Kernkompetenz des 21. Jahrhunderts!Uni-Wissen Kernkompetenzen- orientiert sich an den Anforderungen der neuen Bachelor- und Masterstudiengänge- kombiniert wissenschaftlich fundiertes Wissen mit anwendungsnahen, praxisrelevanten Ratschlägen- ermöglicht erfolgreiches Studieren durch kompakte und systematische Vermittlung von übergreifenden Schlüsselqualifikationen und erleichtert den Berufseinstieg.

Das Buch stellt Ursprungsmythen und Darstellungen von der Schaffung der Welt und der Menschheit aus verschiedenen Kulturen vor. Im Vordergrund stehen Südasien, China, Japan, Griechenland, das Zweistromland und die Amerikas. Neu ist, dass traditionelle Mythen moderner Literatur gegenübergestellt werden.

„Inklings" nannte sich eine Gruppe von Schriftstellern und Geisteswissenschaftlern in Oxford, deren bekannteste Mitglieder J.R.R. Tolkien und C.S. Lewis waren. Die Inklings-Gesellschaft e.V. widmet sich seit 1983 dem Studium und der Verbreitung der Werke dieser und ihnen nahestehender Autoren sowie der Analyse des Phantastischen in Literatur, Film und Kunst allgemein. Ihre Jahrestagungen werden in Jahrbüchern dokumentiert. Dieser Band enthält elf Vorträge der Tagung " Flora und Fauna in Fantastischen Welten", die 2019 in Bonn stattfand, sowie Rezensionen."Inklings" was the name of a group of Oxford scholars and writers; its best-known members were J.R.R. Tolkien and C.S. Lewis. The German Inklings-Gesellschaft, founded in 1983, is dedicated to the discussion and dissemination of the works of these authors and of writers commonly associated with them and to the study of the fantastic in literature, film and the arts in general. The proceedings of the annual Inklings conferences are published in yearbooks. This book contains eleven chapters presented as papers at the 2019 conference entitled "Flora and Fauna in Fantastic Worlds" and reviews.

J. K. Rowling''s "Harry Potter" series (1997–2007) has turned into a global phenomenon and her Potterverse is still expanding. The contributions in this volume provide a range of inter- and transdisciplinary approaches to various dimensions of this multifacetted universe. The introductory article focuses on different forms of world building in the novels, the translations, the film series and the fandom. Part I examines various potential sources for Rowling''s series in folklore, the Arthurian legend and Gothic literature. Further articles focus on parallels between the "Harry Potter" series and Celtic Druidism, the impact Victorian notions of gender roles have had on the representation of the Gaunt family, the reception of (medieval and Early Modern) history in the series and the influence of Christian concepts on the world view expressed in the novels. Part II focuses on a range of prominent political and social themes in the series, including conspiracy, persecution and terror, racism as well as the role of economic, social and cultural capital. Other articles explore the concept of a Magical Criminal Law and its consequences as well as the significance of secrets and forbidden places. The articles in Part III go beyond the novels by taking the stage play "Harry Potter and the Cursed Child", the movie "Fantastic Beasts and Where to Find Them", Pottermore and fan fiction into account. Main topics in this part include trauma theory/PTSD, queerbaiting, a ''post''-colonial analysis of the representation of Native Americans in Rowling''s "History of Magic in North America" and the depiction of violence, incest and rape in fan fictions. The concluding article highlights the diversification of the Potterverse and analyses strategies informing its ongoing expansion.

J. K. Rowling''s "Harry Potter" series (1997–2007) has turned into a global phenomenon and her Potterverse is still expanding. The contributions in this volume provide a range of inter- and transdisciplinary approaches to various dimensions of this multifacetted universe. The introductory article focuses on different forms of world building in the novels, the translations, the film series and the fandom. Part I examines various potential sources for Rowling''s series in folklore, the Arthurian legend and Gothic literature. Further articles focus on parallels between the "Harry Potter" series and Celtic Druidism, the impact Victorian notions of gender roles have had on the representation of the Gaunt family, the reception of (medieval and Early Modern) history in the series and the influence of Christian concepts on the world view expressed in the novels. Part II focuses on a range of prominent political and social themes in the series, including conspiracy, persecution and terror, racism as well as the role of economic, social and cultural capital. Other articles explore the concept of a Magical Criminal Law and its consequences as well as the significance of secrets and forbidden places. The articles in Part III go beyond the novels by taking the stage play "Harry Potter and the Cursed Child", the movie "Fantastic Beasts and Where to Find Them", Pottermore and fan fiction into account. Main topics in this part include trauma theory/PTSD, queerbaiting, a ''post''-colonial analysis of the representation of Native Americans in Rowling''s "History of Magic in North America" and the depiction of violence, incest and rape in fan fictions. The concluding article highlights the diversification of the Potterverse and analyses strategies informing its ongoing expansion.

Fear in its many facets appears to constitute an intriguing and compelling subject matter for writers and screenwriters alike. The contributions address fictional representations and explorations of fear in different genres and different periods of literary and cultural history. The topics include representations of political violence and political fear in English Renaissance culture and literature; dramatic representations of fear and anxiety in English Romanticism; the dramatic monologue as an expression of fears in Victorian society; cultural constructions of fear and empathy in George Eliot''s Daniel Deronda (1876) and Jonathan Nasaw''s Fear Itself (2003); facets of children''s fears in twentieth- and twenty-first-century stream-of-consciousness fiction; the representation of fear in war movies; the cultural function of horror film remakes; the expulsion of fear in Kazuo Ishiguro''s novel Never Let Me Go and fear and nostalgia in Mohsin Hamid''s post-9/11 novel The Reluctant Fundamentalist.

Frances Hodgson Burnett published numerous works for an adult readership, but she is mainly remembered today for three novels written for children: Little Lord Fauntleroy (1886), A Little Princess (1905) and The Secret Garden (1911). This volume is dedicated to The Secret Garden. The articles address a wide range of issues, including the representation of the garden in Burnett''s novel in the context of cultural history; the relationship between the concept of nature and female identity; the idea of therapeutic places; the notion of redemptive children in The Secret Garden and Little Lord Fauntleroy; the concept of male identity; constructions of ''Otherness'' and the redefinition of Englishness; film and anime versions of Burnett''s classic; Noel Streatfeild''s The Painted Garden as a rewriting of The Secret Garden; attitudes towards food in children''s classics and Burnett''s novel in the context of Edwardian girlhood fiction and the tradition of the female novel of development.

Austen''s Pride and Prejudice has been adapted, transformed and translated into numerous languages. Thus the classic today constitutes an international, transcultural, transmedial and iconic phenomenon of pop culture that transcends genre boundaries as easily as centuries. The vitality of the book at the crossroads of the literary canon and pop culture is analysed by contributions focusing on its translations, Bollywood adaptations, iconic TV versions or vlog adaptations, on erotic rewritings or generic transformations into Chick-Lit, crime fiction or the Gothic mode, on teaching contexts or on a diachronic analysis of its illustrations. Complemented by a compilation of student essays, this volume affirms and celebrates Pride and Prejudice being perhaps more alive than ever before.

In academic as well as in public debates audiovisual media have often been accused of perpetuating gender stereotypes and of confronting viewers time and again with traditional role models and binary concepts of masculinity and femininity. In recent years, films, television series and music videos increasingly have shown women and men who transgress the traditional gender dichotomy. One of the central ideas behind this volume is the attempt to bring together explorations of ''gendering'' in different audiovisual media. The contributions seek to explore in particular shifting constructions of femininity and masculinity and aim to provide further insight into the media- and genre-specific ways of constructing, perpetuating and challenging gender concepts in audiovisual media, taking into consideration the interplay of the different levels on which gendering occurs in them. Thus, two articles in the present volume address the processes of constructing, perpetuating and challenging notions of femininity and masculinity in music videos, while other contributions are dedicated to the analysis of gendering in films and/or TV series.

Browsing through books and TV channels we find people pre-occupied with eating, cooking and competing with chefs. Eating and food in today''s media have become a form of entertainment and art. A survey of literary history and culture shows to what extent eating used to be closely related to all areas of human life, to religion, eroticism and even to death.In this volume, early modern ideas of feasting, banqueting and culinary pleasures are juxtaposed with post-18th- and 19th-century concepts in which the intake of food is increasingly subjected to moral, theological and economic reservations. In a wide range of essays, various images, rhetorics and poetics of plenty are not only contrasted with the horrors of gluttony, they are also seen in the context of modern phenomena such as the anorexic body or the gourmandizing bête humaine.It is this vexing binary approach to eating and food which this volume traces within a wide chronological framework and which is at the core not only of literature, art and film, but also of a flourishing popular culture.

The orphan has turned out to be an extraordinarily versatile literary figure. By juxtaposing diverse fictional representations of orphans, this volume sheds light on the development of cultural concepts such as childhood, family, the status of parental legacy, individualism, identity and charity. The first chapter argues that the figure of the orphan was suitable for negotiating a remarkable range of cultural anxieties and discourses in novels from the Victorian period. This is followed by a discussion of both the (rare) examples of novels from the first half of the 20th century in which main characters are orphaned at a young age and Anglophone narratives written from the 1980s onward, when the figure of the orphan proliferated once more. The trope of the picaro, the theme of absence and the problem of parental substitutes are among the issues addressed in contemporary orphan narratives. The book also looks at the orphan motif in three popular fantasy series, namely Rowling's Harry Potter septology, Pullman's His Dark Materials trilogy and Martin's A Song of Ice and Fire series. It then traces the development of the orphan motif from the end of the 19th century to the present in a range of different types of comics, including funnies and gag-a-day strips, superhero comics, underground comix, and autobiographical comics.