A lyrical requiem for Mayröcker's late partner, the writer Ernst Jandl. Austrian poet and playwright Ernst Jandl died in 2000, leaving behind his partner, poet Friederike Mayröcker--and bringing to an end a half century of shared life, and shared literary work. Mayröcker immediately began attempting to come to terms with his death in the way that poets struggling with loss have done for millennia: by writing. Requiem for Ernst Jandl is the powerfully moving outcome. In this quiet but passionate lament that grows into a song of enthralling intensity, Mayröcker recalls memories and shared experiences, and--with the sudden, piercing perception of regrets that often accompany grief--reads Jandl's works in a new light. Alarmed by a sudden, existential emptiness, she reflects on the future, and the possibility of going on with her life and work in the absence of the person who, as we see in this elegy, was a constant conversational and creative partner.

Identifies and analyzes thematizations of women and death from the past five centuries, illuminating the present and recent past. The theme of women and death is pervasive in the German culture of the past five centuries. With the conviction that only an interdisciplinary approach can explore a typology as far-reaching and significant as this, and in accordance with the feminist tenet that images are accountable for norms, this volume investigates how iconic representations of women and death came about and why they endure. Traditionally, representations of women as agents of death -- when they have been considered at all -- have been considered separately from women as victims, as though there was no shared thematic ground. Here, familiar depictions of female victims are examined alongside the more unsettling spectacle of women as killers, exposing cultural assumptions. Essays explore, among others, the themes of virgin sacrifice and female infanticides, "Death and the Maiden" in art, female vampires in literature, and women killersin the media. Others compare cultural practices such as female mourning across historical contexts, examining change and the reasons for it. The authors' judgments eschew the simplistic and programmatic, contributing not just to current research in German literature, but also to understanding of cultural history in general. Contributors: Stephanie Knöll, Ruth B. Bottigheimer, Anna Linton, Bettina Bildhauer, Mary Lindemann, Helen Fronius, Anna Richards, Jürgen Barkhoff, Lawrence Kramer, Kathrin Hoffmann-Curtius, Clare Bielby, Gisela Ecker. Anna Linton is Lecturer in German at Kings College London, and Helen Fronius is an AHRC Research Fellow and College Lecturer at Exeter College Oxford.

In a series of paradigmatic readings of René Girard, Peter Sloterdijk, Michael Haneke, Anselm Kiefer, Michel Houellebecq, Elfriede Jelinek, Giorgio Agamben, Naqvi examines the current fascination with victimhood and the desire for victim status.

Poetic prose meditations written in a lyrical stream-of-consciousness style from renowned Austrian poet Friederike Mayröcker. It is summer in this book, even if nature often does not hold to summer. The flowers either have tiny buds or have long since withered. It is summer in the book, asserts Mayröcker's work, because the summer light is switched on: sometimes blazingly bright, sometimes darkened with thunderclouds. At the same time, there is a magical light in this writing. In these stream-of-conscious prose poem meditations, Mayröcker formulates a poetics of simultaneity of all that is not: "not the scenes I remember, rather, it is the sensations accompanying those scenes." Strictly composed in form and language while luxuriantly proliferated in daydreams and nightmares, just sitting around here GRUESOMELY now is a significant volume in the radical late work of the great Viennese poet.

Introduction - C. Henke: Self-Reflexivity and Common Sense in A Tale of a Tub and Tristram Shandy: Eighteenth-Century Satire and the Novel - C. Goer: Wie Tyrann Amor seine Meisterin fand: Die Geburt des Individuums aus dem Geist der Musik in Wilhem Heinses Musikroman Hildegard von Hohenthal - H. Breuer: John Keats' Ode To Autumn als Metapoesie - H. Zapf: Structure, Chaos, and Self-Reference in Edgar Allan Poe - U. Böker: "A raid on the inarticulate:" Hawthorne, Hopkins, Hofmannsthal - T. Fischer-Seidel: Archetypal Structures and Literature in Joyce's Ulysses: Aristotle, Frye, and the Plot of Ulysses - P. Freese: Trouble in the House of Fiction: Bernard Malamud's The Tenants - B. Hesse: "The moo's an arrant thief" - Self-Reflexivity in Nabokov's Pale Fire - W. Huber: "Why this farce, day after day?" On Samuel Beckett's Eleuthéria - L. Volkmann: Explorationen des Ichs: Hanif Kureishis post-ethnische Kurzgeschichten - P. Lenz: Talking-Cures oder Tall Stories? The (Dis)Establishing of Reality in Conor McPherson's The Weir - A. Merbitz: The Art of Listing: Selbstreflexive Elemente in Nick Hornbys High Fidelty - A.Nünning: Fictional Metabiographies and Metaautobiographies: Towards a Definition, Typology and Analysis of Self-Reflexive Hybrid Metagenres - M. Middeke: Self-Reflexivity, Trans-/Intertextuality, and Hermeneutic Deep-Structure in Contemporary British Fiction - A. H. Kümmel: Mighty Matryoshka: Zum Konzept der fraktalen Person - M. Markus: Tu put it shortly: Abkürzungen, reflektiert am Beispiel englischer und deutscher Eigennamen - R. Weskamp: Selbstreflexion und Fremdsprachenerwerb

Life lived within a field of language, walks forever through a landscape's legends. Lutz Seiler grew up in the former German Democratic Republic and has long lived outside of Berlin. His poems arrive from the borders, the in-betweens, and the provinces, and it is precisely this literal and metaphorical soil which lies beneath, indeed nourishes, every one of Mr. Seiler's poems, poems marked by whispers, weather, time's relentless passing, ghosts, and the dead. With an incomparable sense of stillness, quiet, and love, Mr Seiler walks with the reader through the place of which he is part and, contrary to contemporary demands, with no hurry and with great attention to its particulars. In calling forth his landscape's life, in full awareness of both his literary and non-literary forebears, Lutz Seiler has re-contextualized and radically personalized German Naturlyrik for the 21st century while simultaneously reestablishing the insoluble bond between poet and landscape.