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Peer-Review at the FWF: All funded books pass through an independent academic peer review process prior to publication. Either the FWF or the publisher handle the peer review process. The FWF asks for at least one written review from an international renowned expert outside of Austria. In cases where the publisher itself handles the peer review process, the publisher has to ask for at least two peer reviews meeting the requirements of the FWF. This means: Reviews must not be carried out by persons who may have or may be suspected to have a conflict of interest with regard to the authors, editors or other persons involved in the publication. Reviewers are considered to have a conflict of interest in cases where they might benefit personally or financially from the approval or rejection of the application. The same applies to cases where reviewers have worked at the same research institution, published or cooperated with the applicant or another person involved in the publication in the last five years, or where the reviewers have fundamental differences of scholarly opinion or close professional and/or personal relationships with the applicant or another person involved in the publication. Scholars who work in Austria must not be called in as reviewers. Peer reviews must be meaningful and comparable with reviews obtained by the FWF. Publishers could only conduct the peer review by themselves if they have an international peer review process for the selection of publications. The review process must be described in a transparent manner on the web site of the publisher.

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Browse results: Found 3

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"Écrire un seul livre, sans cesse renouvelé"

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ISBN: 9783465035015 Year: Pages: 364 Seiten Language: German
Publisher: Vittorio Klostermann GmbH Grant: Austrian Science Fund (FWF) - D 3790
Added to DOAB on : 2013-03-27 11:49:45
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The study examines Jorge Semprun´s literary reflections on his experiences made in the concentration camp of Buchenwald in "Le grand voyage" (1963), "Quel beau dimanche!" (1980), "L´écriture ou la vie" (1994) and "Le mort qu´il faut" (2001) with the aim to show the development in his retrospective treatment of the past. Therefore the texts are not considered as a unified "ecriture" but as a progressing approximation to his experiences in Buchenwald.The study deals in narratological and poetological terms with Semprun´s growing awareness of what Buchenwald means to him: While "Le grand voyage" is deeply influenced by the authors communistic view. "Quel beau dimanche!" reflects Sempruns disconcertion caused by his awareness of the parallel existence of concentration camps in Nazi-Germany and in the Soviet Union. "L´ecriture ou la vie" and "Le mort qu´il faut", for their part, are written by an author who considers himself as survivor and witness.This process is accompanied by Semprun´s shift to literature as a universe implying sense and creating identity. This becomes vitally important after his dissociation from communism and enables him to speak extensively about his experiences with death. Therefore Semprun´s conception of "witnessship" can be described as diametrically opposed to factual documentation. It is rather intended to function within a literary field: Only the intensive use of intertextuality allowes Semprun to comprehend Buchenwald finally as the centre of his life and as the origin of his own identity as well as to communicate his "truth" to the reader.

Von der philosophisch-moralischen Erzählung zur modernen Novelle

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ISBN: 3465032284 Year: Pages: 404 Seiten DOI: 10.26530/OAPEN_574822 Language: German
Publisher: Vittorio Klostermann GmbH Grant: Austrian Science Fund (FWF) - D 3592
Added to DOAB on : 2015-09-08 11:01:36
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The treatise deals with the pre-history of the modern French novella, which has constituted a new paradigm of genre history within the field of short narrations since 1829. Contrary to claims that Mérimée's, Stendhal's, and Balzac's novellas have nothing in common with the narrative of the 18th and early 19th century, it is intended to demonstrate that the latter provides an arsenal for the renewal of the genre around 1830.A relatively stable consciousness concerning the genre, clearly differentiating between conte and nouvelle until the mid-1760, functions as starting point. This duality, however, starts slackening when the successful conte moral transcends into the field of the nouvelle - an event which robs the terms conte and nouvelle of their distinctiveness. Both of the two most popular themes of the conte moral, namely marital development and education, are realized in a couple of textual strategies which are - despite a change in social conditions - continuing up to the first two decades of the 19th century. This continuum usually involves distortion, parody, and afunctionality. Simultaneous to the transformations maintaining this system, the observer also traces transformations breaking those rules as seen in the works of Diderot, Mme de Staël, Sade, and Balzac, which makes it impossible to integrate their narrations into the harmonized ideology of the conte moral.The nouvelle receives further impulse from the "true story", which can be settled somewhere between journalistic information and literary fiction. It is a heterogeneous field of narrations sharing the reference to the reality external of literary fiction and the themes of the unexpected, the inexplicable, and the violation of the rules. The techniques, methods and themes developed by the narrative of the 18th century are endowed with new meaning by the French Revolution. Characteristic bundles of the modern novella are elaborated by the cooperation of several concepts - "the exotic and distance", "antithesis and paroxysm", "denouement and temporality, as well as "ambiguity and the secret" - creating a new synergy. The novella meets the growing need for texts mainly concerned with the creation of suspense by its accentuated temporality and its mode of reception aiming at fast consumption. The fantastic novella may be understood as an extreme variation of the modern novella based on the typical antithetical structure. The historical increase in the usage of supernatural elements in the field of short narratives indicates that dealing with the irrational evokes a development of frame stories displaying a more complex structure which equips the novelistic event itself with an amplified aesthetic component.

Von illusionärer Wirklichkeit und wahrer Illusion

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ISBN: 9783465035091 Year: Pages: 358 Seiten DOI: 10.26530/OAPEN_437139 Language: German
Publisher: Vittorio Klostermann GmbH Grant: Austrian Science Fund (FWF) - D 3817
Added to DOAB on : 2013-03-27 11:48:38
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In the eighteenth century, Venice was not only a centre of theatre life but also a centre for discussion about theatre. In literary and theatre history the well-known Venetian theatrical dispute, with its protagonists Carlo Goldoni and Carlo Gozzi, seem to provoke a simplistic reproduction of the polemics. A predominantly negative image of Gozzi is correlated with an appreciation of Goldoni and his dramaturgical reform, whrereas while Gozzi is considered the savior of the commedia dell´arte, Goldoni appears as ist grave-digger.This study tries to break open such prejudice, reading Gozzi´s "Fiabe teatrali" as a veritable counterpoint to Goldoni´s comedies and Enlightenment drama. Against the background of Italian theatre in the 18th century and contemporary Venetian theatricality, Gozzi´s intention, as well as the speical caracteristics of his tales for the theatre, becomes evident. Using fairy tales and commedia dell´arte as basic constituents for his "Fiabe teatrali", Gozzi responds to a theatre that emphasizes the reflection of everyday life and follows the concept of utility. The combination of elements are distanced from reality in a way that resembles an ars combinatoria, based on a structure of constrasts that underlines its artificial character. This displays the autonomy of theatrical reality and and the importance of imagination. However, the fairy tale illusion refers back to reality in two ways: on the one hand the traditional masks comment directly current events, on the other hand theatrical illusion indirectly reveals truth that remains secret in discourse.As a new dramatic genre the "Fiabe teatrali" open the possibility to reflect on the constructed character of reality and to set on stage the problematic nature of the perception of truth.

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