Sebastian Domsch Book order

Romanticism's turn to subjective experience is based on a new awareness of the language- and media-related complexities of authentic representation. It anticipates modernist concerns and, on a more general note, the linguistic and medial turns of the twentieth century. Following James Chandler's insight that Romanticism constitutes „a cultural idiom, a whole way of being in the world“, the contributions to this volume ask what is specifically modern in this cultural idiom and in how far the modernity of Romanticism depends on ambiguity as a paradigm of modernity as defined in Christoph Bode's Ästhetik der Ambiguität . Contributors: Sebastian Domsch, Katharina Rennhak, Mark J. Bruhn, Nicholas Halmi, Ralf Haekel, Frank Erik Pointner, Dennis Weißenfels, Jens Martin Gurr, James Vigus, Cian Duffy, Gerold Sedlmayr, Peter J. Kitson, Frederick Burwick, Michael O'Neill, Angela Esterhammer, Martin Procházka, Ian Duncan, Pascal Fischer, Mirosława Modrzewska, Stanisław Modrzewski, Sabrina Sontheimer, Stefanie Fricke, Christoph Reinfandt.

This study tries, through a systematic and historical analysis of the concept of critical authority, to write a history of literary criticism from the end of the 17th to the end of the 18th century that not only takes the discursive construction of its (self)representation into account, but also the social and economic conditions of its practice. It tries to consider the whole of the critical discourse on literature and criticism in the time period covered. Thus, it is distinctive through its methodology (there is no systematic account of the historical development of critical authority and no discussion of the institutionalization of criticism of such a scope), its material of analysis (most of the many hundred texts self-reflexively commenting on criticism that are discussed here have been so far virtually ignored) and through its results, a complex history of criticism in the 18th century that is neither reductive nor the accumulation of isolated aspects or author figures, but that probes into the very nature of the activity of criticism. The aim of this study is both to provide a thorough historical understanding of the emergence of criticism and as a consequence an understanding of the inner workings and power relations that structure criticism to this day.

Incontestably, Future Narratives are most conspicuous in video games: they combine narrative with the major element of all games: agency. The persons who perceive these narratives are not simply readers or spectators but active agents with a range of choices at their disposal that will influence the very narrative they are experiencing: they are players. The narratives thus created are realizations of the multiple possibilities contained in the present of any given gameplay situation. Surveying the latest trends in the field, the volume discusses the complex relationship of narrative and gameplay.