The ends of satire : legacies of satire in postwar German writing /
"How are we to think of satire if it has ceased to exist as a discrete genre? This study proposes a novel solution, understanding the satiric in the postwar era as a set of writing practices: figures of inversion, myth-making, and citation. By showing how writers and theorists alike deploy thes...
Sábháilte in:
| Príomhchruthaitheoir: | |
|---|---|
| Formáid: | Leictreonach Ríomhleabhar |
| Teanga: | Béarla |
| Foilsithe / Cruthaithe: |
Berlin ; Boston :
De Gruyter,
[2015]
|
| Sraith: | Paradigms-- Literature and the human sciences ;
volume 2 |
| Ábhair: | |
| Rochtain ar líne: | An electronic book accessible through the World Wide Web; click to view |
| Clibeanna: |
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Clár na nÁbhar:
- Acknowledgments
- Introduction: Satire around 1800: Jean Paul
- Prolegomena
- The case of Jean Paul: unreadable writing, unwritable readings 16
- Part One: Inversion
- The carnivalesque in Mikhail Bakhtin's Rabelais and his World (1965)
- Perspective and repetition in Thomas Bernhard's Woodcutters (1984)
- Destructive negativity: Thomas Bernhard and Extinction (1986)
- Part Two: Mythification
- Between theory and literature: Roland Barthes' Mythologies (1957)
- Elfriede Jelinek's Mythic Lust (1989)
- Viennese paradigms in Elfriede Jelinek's The Piano Teacher (1983)
- Part Three: Citation
- From stage to page: Judith Butler and Gender Trouble (1990)
- Performing theory in literature: Thomas Meinecke's Tomboy (1998)
- Infinite Paradise of the Infinite Text: Thomas Meinecke's Music (2004)
- Conclusion: Satire after Satire.