Matthias Bauer - Böcker

There has been a growing awareness that ambiguity is not just a necessary evil of the language system resulting, for instance, from its need for economy or, by contrast, a blessing that allows writers to involve readers in endless games of assigning meaning to a literary text. The present volume contributes to overcoming this alternative by focusing on strategies of ambiguity (and the strategic avoidance of ambiguity) both at the production and the reception end of communication. The authors examine ways in which speakers and hearers may use ambiguous words, structures, references, and situations to pursue communicative ends. For example, the question is asked what it actually means when a listener strategically perceives ambiguity, which may happen both synchronically (e.g. in conversations) as well as diachronically (e.g. when strategically ambiguating biblical texts in order to make them applicable to moral lessons). Another example is the question of whether ambiguity awareness increases the strategic use of ambiguity in prosody. Moreover, the authors enquire not only into the effects of ambiguous meanings but also into the strategic use of ambiguity as such, for example, as a response to censorship or as a means of provoking irritation. This volume brings together several contributions from linguistics, literary studies, rhetoric, psychology, and theology, and it aims to provide a systematic approach to the strategic production and perception of ambiguity in a variety of texts and contexts.The Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license.

There has been a growing awareness that ambiguity is not just a necessary evil of the language system resulting, for instance, from its need for economy or, by contrast, a blessing that allows writers to involve readers in endless games of assigning meaning to a literary text. The present volume contributes to overcoming this alternative by focusing on strategies of ambiguity (and the strategic avoidance of ambiguity) both at the production and the reception end of communication. The authors examine ways in which speakers and hearers may use ambiguous words, structures, references, and situations to pursue communicative ends. For example, the question is asked what it actually means when a listener strategically perceives ambiguity, which may happen both synchronically (e.g. in conversations) as well as diachronically (e.g. when strategically ambiguating biblical texts in order to make them applicable to moral lessons). Another example is the question of whether ambiguity awareness increases the strategic use of ambiguity in prosody. Moreover, the authors enquire not only into the effects of ambiguous meanings but also into the strategic use of ambiguity as such, for example, as a response to censorship or as a means of provoking irritation. This volume brings together several contributions from linguistics, literary studies, rhetoric, psychology, and theology, and it aims to provide a systematic approach to the strategic production and perception of ambiguity in a variety of texts and contexts.The Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license.

This wide-ranging collection reflects on the various motivations that caused the Folio to come into being in 1623, 7 years after Shakespeare’s death, and on how the now iconic book has been continually reimagined after its initial publication to the present day.In honour of its original publication, Shakespeare’s First Folio 1623-2023: Text and Afterlives brings together a remarkable set of ground-breaking essays by an international group of scholars. From the beginning, the publication that came to be called the ‘First Folio’ was defined by the tension between the book as text and the book as a material object. In this volume, the individual contributions move between these two meaningsin that they consider precursors to the First Folio in the form of reader-assembled volumes; the poetic identity of Shakespeare; and how misfortunes and successes in the early modern printing house shaped Shakespeare’s text.Chapters examine the unpredictable and often surprising subsequent histories of the book that has even been given a sacred status and become the basis of Shakespeare’s unique position in the history of literature. They consider: the afterlife of the text, in relation to the reception of Shakespeare’s First Folio in Spain; its presence in and influence on James Joyce’s Ulysses; the role that Meisei University of Japan’s Shakespeare Collection has played in the education and research of the institution; and what the collection of 82 copies at the Folger Shakespeare Library in Washington, DC, tells us about the ongoing role of these books within the study of Shakespeare and the early modern period.

This wide-ranging collection reflects on the various motivations that caused the Folio to come into being in 1623, 7 years after Shakespeare’s death, and on how the now iconic book has been continually reimagined after its initial publication to the present day.In honour of its original publication, Shakespeare’s First Folio 1623-2023: Text and Afterlives brings together a remarkable set of ground-breaking essays by an international group of scholars. From the beginning, the publication that came to be called the ‘First Folio’ was defined by the tension between the book as text and the book as a material object. In this volume, the individual contributions move between these two meaningsin that they consider precursors to the First Folio in the form of reader-assembled volumes; the poetic identity of Shakespeare; and how misfortunes and successes in the early modern printing house shaped Shakespeare’s text.Chapters examine the unpredictable and often surprising subsequent histories of the book that has even been given a sacred status and become the basis of Shakespeare’s unique position in the history of literature. They consider: the afterlife of the text, in relation to the reception of Shakespeare’s First Folio in Spain; its presence in and influence on James Joyce’s Ulysses; the role that Meisei University of Japan’s Shakespeare Collection has played in the education and research of the institution; and what the collection of 82 copies at the Folger Shakespeare Library in Washington, DC, tells us about the ongoing role of these books within the study of Shakespeare and the early modern period.

Dieser Band lotet das komplexe und dynamische, von Konkurrenz und Kooperation bewegte Verhältnis zwischen Literatur und Film aus. Die vertrackte Beziehung der beiden führenden Erzählmedien des 20. und 21. Jahrhundert, deren Potential sich nie nur im Narrativ-Dramatischen erschöpfte, bildete eine zentrale Herausforderung für einen Großteil der kulturwissenschaftlichen Theorieentwürfe vom Strukturalismus bis zur Intermedialitätsforschung. Sie prägte sich in Diskurs- und Praxisfeldern aus, die wie die literarische Filmreflexion und die filmische Adaption von Literatur wichtige Teile der modernen Kultur bestimmten. Sie begann in der Literatur noch bevor das Filmmedium technisch realisiert wurde (Précinéma) und nahm vom Stummfilm über den Tonfilm bis zur Autorenbewegung und zum Siegeszug des Fernsehens, auch entlang der Teilung zwischen BRD und DDR, unterschiedlichste Formen an, in denen mediale und soziale Bedingungen einander stets überlagerten und die zuletzt in das Archiv und die Formate des Internets eingegangen sind. Der Band verfolgt die Konfiguration zwischen Literatur und Film als einen Leitfaden durch die Mediengeschichte der letzten 120 Jahre.

Until recently, collaborative efforts between formal linguistics and literary studies have been relatively sparse; this book is an attempt to bridge this gap and add to the hitherto small pool of studies that combine the two disciplines.Our study concentrates on Emily Dickinson’s poetry, since it displays a highly uncommon and therefore challenging use of language. We argue this to be part of her poetic strategy and consider Dickinson an intuitive linguist: her apparent non-compliance with linguistic rules is a productive exploration of linguistic expression to reveal the flexibility and potential of grammar, leading to complex processes of interpretation. Our study includes a number of in-depth analyses of individual poems, which combine formal linguistic methods and literary scholarship and focus on specific aspects such as ambiguity, reference, and presuppositions. One of our findings concerns the dynamic interpretation of lyrical texts in which the pragmatic step of establishing what a poem means for the reader is postponed to text level.We provide readers with a tool-box of methods for the formal linguistic analysis not just of Emily Dickinson’s poetry but of linguistically complex literary texts in general.

Until recently, collaborative efforts between formal linguistics and literary studies have been relatively sparse; this book is an attempt to bridge this gap and add to the hitherto small pool of studies that combine the two disciplines.Our study concentrates on Emily Dickinson’s poetry, since it displays a highly uncommon and therefore challenging use of language. We argue this to be part of her poetic strategy and consider Dickinson an intuitive linguist: her apparent non-compliance with linguistic rules is a productive exploration of linguistic expression to reveal the flexibility and potential of grammar, leading to complex processes of interpretation. Our study includes a number of in-depth analyses of individual poems, which combine formal linguistic methods and literary scholarship and focus on specific aspects such as ambiguity, reference, and presuppositions. One of our findings concerns the dynamic interpretation of lyrical texts in which the pragmatic step of establishing what a poem means for the reader is postponed to text level.We provide readers with a tool-box of methods for the formal linguistic analysis not just of Emily Dickinson’s poetry but of linguistically complex literary texts in general.

In der Neuzeit als Gattung abgelehnt, hat der Roman bis heute der Literatur seinen Stempel aufgedrückt und prägende Theorien bedingt. Von Huét über Lukács und Bachtin bis zu Girard und Ric ur gibt das Lehrbuch einen chronologischen Überblick über die Romantheorie. Grundbegriffe der Erzählforschung wie Mimesis, Chronotopos, Dialogizität und Metaphorologie werden eingängig erläutert. Die 2.Auflage ist erweitert um ein den Roman zwischen Trans- und Postmoderne sowie um Herausforderungen der Erzählforschung. Für Studium und Lehre bestens geeignet.

Von Grimmelshausen bis Fielding. Die Wiederkehr des Schelms im zeitgenössischen Roman zeigt, dass der Schelmenroman ein äußerst langlebiges Genre der Erzählkunst ist. Seine Geschichte erstreckt sich von der Entstehung im Spanien des 16. Jahrhunderts über die simplizianischen Romane bis ins 19. und 20. Jahrhundert. Dabei zeichnet sich der Schelmen- oder Pikaroroman dadurch aus, dass die dargestellte Welt der Gauner und Vertrauensschwindler, von einer Figur beschrieben wird, die selbst im Verdacht steht, ein Gauner und Vertrauensschwindler zu sein.

Die Romantheorie der Neuzeit beginnt als Apologie. Zur Diskussion steht der ethische und ästhetische Wert einer Gattung, die aus dem Rahmen der überlieferten Poetik fällt; zudem hat der Roman die Vorstellungen dessen, was Literatur sein kann, grundlegend verändert.

Das Werk behandelt die den Wirtschaftsteilnehmer treffenden öffentlich-rechtlichen Pflichten bei und nach Bereitstellung technischer Geräte. Dieser sieht sich dabei mit einer Vielzahl unterschiedlicher Rechtsquellen, unterschiedlichen Regelungsansätzen und zum Teil widersprüchlichen Anforderungen konfrontiert. Das Werk stellt die komplexe Materie systematisch dar, berücksichtigt unionsrechtliche und nationale Vorgaben und ihr Verhältnis zueinander. Im ersten Teil werden die Grundlagen erläutert und die geschichtliche Entwicklung wird dargestellt. Der zweite Teil widmet sich den Anforderungen an das technische Design mit den Schwerpunkten  Produktsicherheit, Umweltproduktrecht, Straßenverkehrszulassungsrecht und sonstiges Produktrecht. Der dritte Teil behandelt die nicht-designbezogenen Marktzugangsvoraussetzungen, während der abschließende vierte Teil der Nachmarktphase gilt. Das „Recht des technischen Produkts“ ist als Handwerkzeug für den Unternehmensjuristen gedacht, um ihmdie Materie verständlich und für die tägliche Arbeit handhabbar zu machen.

Am Beispiel gewerblicher Transportdienstleistungen analysiert Matthias Bauer die empirische Relevanz verschiedener Faktoren der Kundenzufriedenheit und zeigt, dass insbesondere kritische Ereignisse die Zufriedenheitsbildung in Geschaftsbeziehungen direkt beeinflussen.