ZAA - Zeitschrift für Anglistik und Amerikanistik
A Quarterly of Language, Literature and Culture

Heft 1/ 2001

ZAA, Heft 1/2001
EUR 13,00
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Aus dem Inhalt

Aus dem Inhalt:

  • Siegfried Wyler: Colour Names and Text (abstract)

  • A.D. Harvey: English Gravestones as Cultural History (abstract)

  • Hans Osterwalder: Polymorphous Sexuality Versus the Family: Forms of Living Together in Caryl Churchill’s Plays (abstract)

  • Klaus-Dieter Gross: The Crucible as Drama and as Opera (abstract)

  • Reingard M. Nischik: The American Western of the 1960s: Diversification, Specialization, New Beginnings (abstract)

Miszelle

  • Recht – Gesetz – Literatur

  • Dieter Paul Polloczek. Literature and Legal Discourse. (Michael Kilian)

  • Laura Hanft Korobkin. Criminal Conversations: Sentimentality and Nineteenth-Century Legal Stories of Adultery. (Eveline Kilian)

Buchbesprechungen

  • Martin Kuester, Gabriele Christ and Rudolf Beck, eds. New Worlds: Discovering and Constructing the Unknown in Anglophone Literature. (Rolf Althof)

  • New and Newly Edited Oxford Reference Works: Elizabeth Knowles, ed. The Oxford Dictionary of Phrase and Fable; Margaret Drabble, ed. The Oxford Companion to English Literature; Very Short Introductions Series: British Histories. (Barbara Korte)

  • Hilary Nesi. The Use and Abuse of EFL Dictionaries. (Albrecht Neubert)

  • Monika Polifke. Richard Mulcasters Elementaire: Eine kultur- und sprachhistorische Untersuchung. (Fritz Kemmler)

  • Lothar Fietz. Fragmentarisches Existieren: Wandlungen des Mythos von der verlorenen Ganzheit in der Geschichte philosophischer, theologischer und literarischer Menschenbilder. (Annegreth Horatschek)

  • Susanne Scholz. Body Narratives: Writing the Nation and Fashioning the Subject in Early Modern England. (Indira Ghose)

  • Ansgar und Vera Nünning. Englische Literatur des 18. Jahrhunderts. (Monika Fludernik)

  • David Woolley, ed. The Correspondence of Jonathan Swift, D.D. (Gottfried Graustein)

  • Hans Heinrich. Zur Geschichte des ‘Libertin’ in der englischen Literatur. (Raimund Schäffner)

  • Reinhold Schiffer. Oriental Panorama: British Travellers in 19th Century Turkey. (Maurus Reinkowski)

  • Sabine Berghahn und Sigrid Hoch-Baumgarten, eds. Mythos Diana: Von der Princess of Wales zur Queen of Hearts. (Beate Neumeier)

  • Gisela Ecker, ed. Trauer tragen – Trauer zeigen: Inszenierungen der Geschlechter. (Gabriele Rippl)

  • Collin Meissner. Henry James and the Language of Experience. (Ulla Haselstein)

  • Adi Wimmer, ed. Australian Nationalism Reconsidered: Maintaining a Monocultural Tradition in a Multicultural Society. (Franz Oswald)



Siegfried Wyler: Colour Names and Text:
The fact that colour names as such lack a clearly definable content makes them dependent on either an assignment to colorimetrically ascertainable quantities and orders or, as has been the historical and culturally dependent process, to objects. The latter all the more so since colour is, basically, object-inherent. Moreover although colours are perceived with the help of the eye, colour sensation takes place in the brain. This fact becomes especially relevant where colour sensations are, or are supposed to be, produced without the intermediary of the eye as is the case with texts, literary texts in particular. Here the colour sensation evoked in the reader's mind cannot be indicated precisely, it can only be suggested by the colour names occurring in the text. Its realisation differs from that with perceptible colours. Colour sensation evoked by colour words largely depends on a reader's colour memory and his or her colour associations. The term "suggestiveness" has therefore been introduced into the discussion of colour terms in literary texts. Moreover it has to be noted that colour terms in literary texts fulfill a number of other functions than denoting or suggesting colours as such.


A.D. Harvey: English Gravestones as Cultural History
Traditional interest in the curiosity-value of their inscriptions has diverted attention from other aspects of the grave-markers which have been a feature of English burial grounds since the seventeenth century: their design, their iconology, the geographical and chronological distribution of different types of marker, and the evidence they provide both of the growth of commercialization and of changing conventions of sentiment, especially during the last two hundred years.


Hans Osterwalder: Polymorphous Sexuality Versus the Family: Forms of Living Together in Caryl Churchill’s Plays
This essay analyses Caryl Churchill's dramatic exploration of sexuality and its effects on the family or other, alternative forms of communal living. As John M. Clum points out in his reading of Cloud Nine, that play shows how "relationships are created not to suit the needs of society at large... but the patterns of desire of the individuals involved." The fundamental question is whether this liberated, polymorphous, i.e. not exclusively heterosexual sexuality still allows for stable social units, be they the traditional nuclear family or alternative forms of communal living. In a playwright like Churchill this issue is obviously linked with the notion of feminism. One of the central tenets of feminism is the need for autonomy; a concept which certainly includes the choice of a particular kind of sexuality and a specific form of living together. So in broader terms the objective of my investigation is the effect of autonomy, of women and men, in its original Greek sense of 'self-law', on the traditional building block of society, the nuclear family. The Churchill plays in which this clash is particularly obvious are Owners, Traps, Vinegar Tom, Cloud Nine and Top Girls. In addition the article traces the marginal presence of the subject of family and sexuality in Churchill’s later work up to Blue Heart. Predictably Churchill doesn’t plump for easy solutions but presents a balanced picture of the incompatibility of the nuclear family with liberated sexuality without pinning the blame squarely on men and their patriarchal mind-set.


Klaus-Dieter Gross: The Crucible as Drama and as Opera
In the late seventeenth century puritan leaders fought a lost battle to re-impose the old order in New England. The Salem witchcraze can be seen in this social and political context. With a didactic intention, in The Crucible Arthur Miller analyzes parallels between past and present social, political, and ideological circumstances. For dramatic effect he imbeds this into a story of strife, love, and tragedy, i.e. elements which are traditionally operatic. In their opera based on the play composer Robert Ward and librettist Bernard Stambler reduce the didacticism of the drama and interpret the plot as mainly an outgrowth of the everlasting gender conflict. Ward eclectically refers to a wide range of musical styles, and efficiently even incorporates musical conflicts within late puritanism.


Reingard M. Nischik: The American Western of the 1960s: Diversification, Specialization, New Beginnings
>This essay examines the fate of the Western, the oldest genre in American cinema, during the 1960s, a turbulent decade of change and revolution. After a boom in the 1950s, the sixties saw a decline in the number of Western productions. At the same time, under the influence of revisionist criticism of the myth of the American West, the genre was forced to reconsider and reinvent itself. This led to the development of four main branches within the genre: the traditional Western, which continued to glorify white male Western history; the elegiac Western, which mourned the passing of Western heroism; the anti-idealistic Western, which presented a new, highly negative view of the West; and the Western parody, poking fun at traditional Western conventions.
What the Western in the sixties lost in numerical terms, it made up for in variety, with its new-found diversity pointing in new directions for the future development of the genre.


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