Journal of Literary Theory最新文献

{"title":"Nacherzählen. Versuch über eine Kulturtechnik","authors":"A. Schäfer","doi":"10.1515/jlt-2023-2008","DOIUrl":"https://doi.org/10.1515/jlt-2023-2008","url":null,"abstract":"Abstract The article discusses the position of retelling in literary studies. Retelling does neither play a role in narratology, nor raises further questions for text theory. In the focus of literary didactics retelling is often limited to the pragmatics of use. ›Retelling‹, however, is not a term used in literary studies. Although the term denotes a widespread cultural technique, which is used in schools and is accordingly also discussed in the didactics of literature, it has not yet been able to be acknowledged in the discipline. The greatest obstacle standing in the way of a conceptual version of retelling probably lies in its distinction from narrative. Narratology has not found any specifics in retelling that fundamentally distinguish it from narration. And the tools of trans-textuality and intertextuality developed especially in structuralism to describe textual relations are available for narrative texts anyway. Thus, literary studies already apply theories and tools that are useful for analyses of retelling: narratology, text theory and classification of a second-order literature, the theory of trans-textuality and intertextuality, and material history, as well as research on media transposition and adaptation. Defining retelling as a second-order narrative, or meta-narrative, inevitably raises the question of what is being repeated at all, and how, by means of narrative. Medieval studies particularly emphasize the aspect of repetition (›re-telling‹), which precedes a specific mediality of narration. Retelling as a variety of repetition neither presupposes a pre-text nor requires that a narrative be repeated. Rather, in retelling, the narrative procedure enters into the service of repetition. On the one hand, it is a variety of repetition, but not every repetition is also a narrative. On the other hand, one and the same text can be described from the point of view of narration or that of repetition. Literary studies that focus on the uses of retelling will pay attention to the varieties of repetition and should look at the relationship between the act of narration and repetition. Obviously, in retelling, the modes and ways, but also the degrees of reference to the pre-text can vary, so that it remains to be discussed which varieties of reference count as valid repetitions. In addition, there is the fundamental question of what falls under the concept of narrative and what components constitute it. Is narrative to be understood as a turning back with linguistic means? As an organization of events, which in turn are to be understood as displacements of actors across semantic or even physical boundaries? As little as a repetition by means of narration is linked to a preceding narrative text, it is equally questionable where and how a boundary between narrative and non-narrative representation could be drawn. In this respect, the following discussion of retelling touches, on the one hand, on the distinction between describing and narrating, w","PeriodicalId":42872,"journal":{"name":"Journal of Literary Theory","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-07-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42333987","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Theorie und Praxis der Literaturvermittlung. Erläuterungsreihen und Textkommentar bei Heinrich Düntzer, Albert Zipper und Georg Witkowski und ihr Nachklang bis zur Gegenwart","authors":"Sebastian Susteck","doi":"10.1515/jlt-2023-2009","DOIUrl":"https://doi.org/10.1515/jlt-2023-2009","url":null,"abstract":"Abstract The paper develops ideas for a theory of the transmission of literature, or Literaturvermittlung. It connects a historical with a systematic perspective and focuses mainly on educational institutions and especially school. At the center of the historical analysis is Heinrich Düntzer, an early protagonist of German studies who, from 1855 onwards, publishes a series of reading guides called Erläuterungen zu den deutschen Klassikern. Düntzer’s ideas are repeated, yet modified, by Albert Zipper and his series Erläuterungen zu Meisterwerken der deutschen Literatur, which appears as part of Reclams Universal-Bibliothek between 1896 and 1922. Düntzer and Zipper draw from a European tradition of literary commentary while developing a genre of study guides, or Lektürehilfen, that is still existant and influential today. Although in the long run schools prove to be the primary institutional address of these guides, this is not clear when Düntzer begins his project in 1855 and only becomes obvious in the 1890s, when Zipper publishes first texts. Both authors explicitly address educated readers in general, yet also, e. g., actors. Since literature in German is a new subject in schools in the 19th century, this is not completely surprising. The historical part of the paper takes an additional look at Georg Witkowski’s book Textkritik und Editionstechnik neuerer Schriftwerke from 1924, which is skeptical of written commentary in teaching literature. Düntzer and Zipper both write texts which accompany their series of study guides and explain aims and intended usage. While Düntzer does so in quite some length in 1862, seven years after beginning to publish the Erläuterungen, Zipper adds short opening paragraphs to his first guide in 1896. Both authors are interested in supplying cheap publications to readers of literature. These publications are supposed to explain literary works and their qualities in detail. Düntzer also wants to help readers develop advanced aesthetic judgment. He outlines that the Erläuterungen are supposed to be studied carefully while also reading the literary works. Although an understanding of literature is possible without relying on study guides, these guides, according to Düntzer, provide a comparatively quick access to literature. He also makes clear that his study guides are to provide readers with a coherent text which does not convey information in isolated chunks or jumps from one aspect to another. The rather short introductory paragraphs by Zipper are less ambitious than Düntzer’s, yet also stress the aim to explain literary works in depth. An exemplary analysis of Düntzer’s and Zipper’s study guides on G.E. Lessing’s Nathan der Weise shows strong similarities between the different Erläuterungen. They both present contextual information on the literary work, its creation and background, information on its characters, its language and, most importantly, its plot. At the same time, there are differences when Düntzer comp","PeriodicalId":42872,"journal":{"name":"Journal of Literary Theory","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-07-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48087993","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Digitale Mittler und literarische Vermittlungen. Clemens J. Setz’ Bot. Gespräch ohne Autor","authors":"N. Binczek","doi":"10.1515/jlt-2023-2003","DOIUrl":"https://doi.org/10.1515/jlt-2023-2003","url":null,"abstract":"Abstract How ›literary mediation‹ is observed from the perspective of literature is discussed in this paper on the basis of Clemens J. Setz’ Bot. Gespräch ohne Autor. It is described here as a network of multiple operations and interconnections that take up excerpts of what has already been published and combine them with something new, and, at the same time, it is made recognizable as a fundamental moment of literature. What is reconstructed here on the basis of and from an exemplum is systematically relevant. The systematic connections that are of interest here, in turn, can only be made plausible by means of the text. This constellation is theoretically indissoluble. This paper discusses this using both the notion of ›epitext‹ and incorporating the concept of ›mediation‹ unfolded by Bruno Latour. It brings the two together and opens the theoretical territory of ›literary mediation and promotion‹. It follows that mediation is defined as an operation that transforms, that is, not conserves and preserves, transferred into terms of literary mediation: not simply explains and comments, but transforms by inscribing and imprinting itself on what it mediates, is emphasized here. For the understanding of literary mediation, it follows that – instead of being in the service of a literary text conceived as an unchanging entity – it is always modifying and translating it in order to continually bring it forth as something new. While peritexts, however supplementary, constitute compact units, the epitextual perspective brings about their spatial and temporal dispersion. Literature is to be grasped epitextually not as a unity, but as an ensemble or network of different elements, references, and functions that project into a virtually expanded environment of a text. With such a reformulation of the concept of literature, it is stated that epitexts are not attributed to the mediation of literature, but to literature, and that the boundary between these areas is thought to be permeable. The article examines how a text file becomes a printed text and how this shapes the understanding of ›digital literature‹. This also addresses the problem of big data, which requires distant reading procedures and to which Bot. Gespräch ohne Author reacts in a specific way, by capturing context-independent »word distributions« (Piper 2018, 43) to use them for new connectivities. The article reveals the shifts between the possibilities of digitization, its literary adaptations, and a literature oriented to the categories of work, author, and book. It is not concerned with replacing texts designed according to traditional criteria with digital surfaces, but rather with pointing out the untranslatability of one system into the other. An untranslatability, however, that can only be demonstrated in the process of translation, the médiation. By taking up concepts of digital culture and incorporating them by quoting, reflecting, and parodying them, the book, consisting of printed pape","PeriodicalId":42872,"journal":{"name":"Journal of Literary Theory","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-07-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47035889","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Schwierige Texte in Kritik und Vermittlung","authors":"Hanna Engelmeier","doi":"10.1515/jlt-2023-2004","DOIUrl":"https://doi.org/10.1515/jlt-2023-2004","url":null,"abstract":"Abstract This article deals with constellations of critique and the critiqued in conflicts over difficult texts. To this end, conflicts are observed in which difficulty is treated as a problem of comprehensibility of texts, which not only concerns stylistics, but also has an ethical dimension. However, the fact that difficult texts require explanation rather than being mediated conveyed is not only a cause for criticism, but also an occasion to prove the competence of the critic. Criticism of obscuritas or obscurity is a familiar topos in the history of rhetoric. The discussion of texts designated as difficult has taken place mainly implicitly in research on intelligibility and incomprehensibility. The relevant works deal primarily with the rhetoric and aesthetics of not only literary, but also philosophical texts. Difficulty emerges as a phenomenon that makes special demands on competence in reading texts (in the emphatic sense), a feature that can irritate readers. This irritation is by no means always judged negatively, as research has shown, particularly with regard to modernist literature, and here especially with regard to poetry. The difficult text, in its manifestation as an incomprehensible text, has been rehabilitated once again since the 20th century as evidence of special poetic quality. At the same time, difficulty also fulfills a function for hermeneutic and aesthetic theory formation, initiating new approaches again and again. Discussions about the comprehensibility of texts – and high or low difficulty as a criterion for comprehensibility – exhibit a strongly self-reflexive character: What appears to be in need of explanation is not only what a text has to offer in terms of form, aesthetics, or content (and what may make it incomprehensible or difficult), but also the role of the person who comments on this text as a critic or defender. The paper discusses this constellation on the basis of cases in which the normative dimension of the criterion of difficulty is mobilized in politically charged academic disputes. In the process, it becomes clear that accusations of tactical difficulty are made again and again. George Steiner described tactical difficulty as a procedure that he attributed primarily to literary avant-gardes, which he did not necessarily regard as negative. For Steiner, this meant texts whose authors use references, vocabulary, and rhetorical devices to force their readers to approach the work through other mediating texts such as commentaries. Steiner sees another motivation for the application of such tactical difficulty in the pressure for artistic innovation on the part of authors, who, against the backdrop of literary history, are left with only the path to particularly complex codifications in order to lend their work an original signature. In the first part of the paper, tactical difficulty is reconstructed alongside the other types of textual difficulty that George Steiner developed heuristically in his essay","PeriodicalId":42872,"journal":{"name":"Journal of Literary Theory","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-07-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44376423","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Ubiquitäres Publizieren. Zur Theorie und Geschichte des Selbstveröffentlichens","authors":"Dorothea Walzer","doi":"10.1515/jlt-2023-2002","DOIUrl":"https://doi.org/10.1515/jlt-2023-2002","url":null,"abstract":"Abstract The article argues that today publishing is no longer solely an institutionally bound professional practice of so-called gatekeepers. Through self-publishing via digital infrastructures, it has become a format of action for both amateurs and professional authors alike. The widespread possibilities of self-publishing arise, on the one hand, from the establishment of self-publishing platforms such as Kindle Direct Publishing, Lulu or Wattpad, the acceptance of which has increased significantly due to the development and successful marketing of reading apps such as Kindle or iPad. On the other hand, they arise from the omnipresent possibilities of interactive online media, i. e. through self-publishing on social media platforms such as Twitter, Facebook, Instagram, etc. Both forms of self-publishing are part of what has been referred to as the ›appification‹ and ›platformization‹ of knowledge economies. The determination of the relationship between publishing and posting remains a gap in self-publishing research, which this article seeks to address. The article defines ›ubiquitous publishing‹ as the sum of self-publishing practices that are situated within a continuum of publishing and posting and give rise to hybrid publication models. The concept of ubiquitous publishing is to be determined from the coexistence and linkage of everyday and professional self-publishing practices. The goal is to understand ubiquitous publishing as a platform-based modeling of self-publication that competes alongside institutionalized publishing landscapes, shapes them, and questions them. With the multiplication of self-publishing, an intertwining of literary production with its infrastructural conditions, of literature and its mediation, takes place. In the first section, the text argues that self-publishing is an everyday competency or literacy, and that it is accompanied by new forms of professionalization and legitimization. The historical classification of self-publishing within the service economy is considered in the second section. This reveals a dependence of professional self-publishers on the audience’s needs, mediated by the market. New procedures for generating resonance and increasing publication frequency result from this dependence. Analyzing the self-publishing and subscription project Der Teutsche Merkur by Christoph Martin Wieland in the second section shows that these procedures were already essential for self-published journals in the late 18th and early 19th centuries. Through constellation with Rupi Kaur’s Instapoesie in the fourth section, common determining aspects of self-publishing emerge despite fundamental media-historical differences between analog and digital self-publishing. These include, above all, the procedures of serialization and (self-)commentary as well as the addressing of the audience. All of these procedures generate feedback between author and audience and allow mediation to become a constitutive component of the l","PeriodicalId":42872,"journal":{"name":"Journal of Literary Theory","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-07-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47354843","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Daten, Atmosphären, Texte – Künstlerische Erfahrungsräume und Virtualisierungen des Literarischen","authors":"Annette Urban","doi":"10.1515/jlt-2023-2006","DOIUrl":"https://doi.org/10.1515/jlt-2023-2006","url":null,"abstract":"Abstract This article deals with contemporary interweavings of literature and visual art. It asks to what extent they include their own form of mediation of the literary and can be relevant in terms of literary theory. This is prompted by the currently diagnosed migration towards ›Literature’s Elsewheres‹ (Annette Gilbert), which, within the omnipresent digital culture, leads away from its traditional media and places. As one of these refuges, the art museum has already come into focus. In addition to being a shelter, it also promises to be a site of reinvention for literature because it offers different modes of presentation, display structures, and modes of experience. Nevertheless, while the literariness of media art has already been explored (Claudia Benthien et al.), less consideration has been given to the spatializing means of exhibition display and, in particular, art installation. Particularly revealing are those examples that attempt to connect the museum and the digital elsewhere of literary writing. For this second site of transformation is usually considered as part of the mass-practiced digital reading-writing culture, so that bridges to the visual arts emerge primarily through related conceptual approaches of appropriation rather than through the specific experiential framework of the art context. As a starting point, therefore, serve theses on the writing of contemporary artists understood as a practice of appropriation that increasingly involves publication gestures and mediation performances (Stefan Römer). Thus, artistic appropriations of literature and poeticized theory can be brought into view, which are performed in physical as well as virtual spaces and, for this purpose, are subjected to a process of datafication as two selected works of contemporary art show. In addition, the concept of atmospheres anchored in recent aesthetics, literary and media theory proves helpful in approaching such examples. For as »spheres of sensed bodily presence« (Gernot Böhme), they imply a mediation-relevant concept of aesthetic experience that privileges body-bound presence over hermeneutics and also open up a different reality of literature (Hans Ulrich Gumbrecht). At the same time, as a concept linked back to space it enables an expanded understanding of space/body/object ensembles and can be intertwined with theories of atmospheric media including their immersive environments (Tim Othold). On this basis, the first main part of the article explores the tendencies towards conceptualization, spatialization, and the performative, which are particularly at work in the intermediation of literature and the visual arts. A common point of reference here is the conceptual as uncreative writing of Kenneth Goldsmith, which shows distinctive publication performances and uses of the physical space of art exhibitions. In order to further ground forms of the spatial-installative exhibition of literature in literary theory, recourse is made to Roman Jakob","PeriodicalId":42872,"journal":{"name":"Journal of Literary Theory","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-07-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45423058","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Literatur in Vermittlung. Zur Einleitung","authors":"N. Binczek, Hanna Engelmeier, A. Schäfer","doi":"10.1515/jlt-2023-2001","DOIUrl":"https://doi.org/10.1515/jlt-2023-2001","url":null,"abstract":"","PeriodicalId":42872,"journal":{"name":"Journal of Literary Theory","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-07-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44828381","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Neues Lesen. Unikalität und Multisensorik als Strategien der Literaturvermittlung","authors":"S. Rieger","doi":"10.1515/jlt-2023-2007","DOIUrl":"https://doi.org/10.1515/jlt-2023-2007","url":null,"abstract":"Abstract This text intends to contribute to the transformation of the classical printed book to its alternative forms and shapes, praxeologies and customs. Besides digital variants, this also applies to those that specifically emphasize other forms of reception, those that shift the reading experience into the virtual sphere. At the same time, the book has an enormous capacity to persist in the economy of mediation. This applies both to the customs of its use and to its cultural status in general. It is self-evident that this transfer of the book’s appearance does not take place without interruption. Of course, there are significant differences both in reading habits and in reading scenes. Reading modalities have also changed, diversified and differentiated. However, the appearance of the classical book and the traditional ways of dealing with it persist. It is necessary to situate this appearance of the book and thereby put its persistence in relation to the phenomenal formations, to the changed arrangements, infrastructures, and materialities. The book remains valid as a semantically as well as phenomenally equally resilient center of organization, not least because it succeeds in regaining terrain by the use of technical possibilities and thus also by reaffirming its historically vouchsafed phantasmatics, for instance by using new sensualities. Procedures of virtualization and augmentation turn reading into an advanced reception possibility, adapted to the state of the art of the technical world of living and reading. In the course of this shift, not only did the possibilities of reception change, but also the object of reading. Both aspects can be condensed into two core concepts, which also characterize the title: Multisensory and Uniqueness. Multisensory integrates other senses such as tactility and haptics in addition to seeing and hearing. Whereas the concept of uniqueness encompasses moments that promote a regionalization of literature. The corresponding narrative appears increasingly data-driven (data epics): It is based on a sensorial recording of life circumstances, and on the individual and personal set pieces which can be found in the respective environments. Not the major themes of world literature, but the respective life conditions with their everyday objects and behaviors become the driving force of narratives and reading moments. This finding is particularly striking in view of the possibility of typographic duplication and contradicts common expectations. The object of reading and thus of literary mediation is thus less a canon of literary works that is considered authoritative. Rather highly personalized narrative forms and narrative moments are tapped in the course of changed receptions. These emerge in different places and with different target groups as effects of these new possibilities. In this way, an almost poetological momentum is unleashed that not only works its way through predefined narrative patterns and a canon ","PeriodicalId":42872,"journal":{"name":"Journal of Literary Theory","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-07-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47207099","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Textuelle Infrastrukturen des Theaters. Dramaturgie als Vermittlung","authors":"Jörn Etzold","doi":"10.1515/jlt-2023-2005","DOIUrl":"https://doi.org/10.1515/jlt-2023-2005","url":null,"abstract":"Abstract This article examines the institution of dramaturgy in theatre as an agency of mediation. The term »dramaturgy« still has a double meaning in most European languages. In many situations, it continues to designate the art of writing plays, and a dramaturge in French or Spanish is also a playwright. However, a few years ago, the originally German notion of the dramaturge also started spreading into other European languages and into theatre in Europe and around the world. This article traces the evolution of dramaturgy from its first appearance in the works of Gotthold Ephraim Lessing to its use in contemporary independent theatre – especially in the sector that is referred to as the Freie Szene in German. Dramaturgy came into existence during the transition from the episteme of »representation« to the episteme of »man« diagnosed by Michel Foucault (2003). Once the sovereign had exited the stages of theatre and politics, Lessing, the first dramaturge in history, searched for another affective bond between the isolated »subjects of interest« (Foucault 2004b) in civil society. Lessing translated Denis Diderot’s treatise on a theatre of intimate scenes into German; these scenes, hidden behind an invisible fourth wall, were to be watched by a public consisting of mere »witnesses one does not know about« (Diderot 1996, 336). It is especially remarkable how Lessing’s interpretation of Diderot as well as his own work as a dramaturge was shaped by Protestantism. His theatre was supposed to mediate a clear message that concerned each of the individuals assembling in the theatre directly. A comparison between Lessing’s reading of Aristotle’s Poetics and Luther’s brief notes on Protestant liturgy shows that both understood the proceedings – the performance of a play or service – not as a ritual that is temporally structured by poetics or liturgy but as an event that conveys a certain message. For Luther, the clear reading of the translated bible and the sermon were central to the service; Lessing, who fiercely fought Johann Christoph Gottsched’s attempts to write a new poetics of the theatre, translated and reinterpreted Aristotle’s concept of kátharsis into a concept centered on feeling pity for human beings »of the same stamp and grain« (Lessing 1988, 422). Theatre, like the service, became an event that concerns each visitor directly. Dramaturges exercise what Foucault calls »pastoral power« (cf. Foucault 2004a, 173–200, and passim) and become the herdsmen of the spectators assembled to cry for their own kind. Their regulative position is thus related to that of the police (Schiller 1982; Vogl 2006; 2008; Müller-Schöll 2020). But the post-sovereign and – not just in Lessing’s case – eminently Protestant governance of affects is again and again confronted by the persistence of the representation of sovereignty despite the epistemic transformation to »man« analyzed by Foucault, not only in the colonies of European states (Spivak 2008) but also in a p","PeriodicalId":42872,"journal":{"name":"Journal of Literary Theory","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-07-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45821720","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Introduction: Relations between Literary Theory and Memory Studies","authors":"Urania Milevski, Lena Wetenkamp","doi":"10.1515/jlt-2022-2022","DOIUrl":"https://doi.org/10.1515/jlt-2022-2022","url":null,"abstract":"","PeriodicalId":42872,"journal":{"name":"Journal of Literary Theory","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45145356","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}