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This book provides an overview of the literary grotesque in 19th-century Europe, with special emphasis on Charles Dickens, whose use of this complex aesthetic category is thus addressed in relation with other 19th-century European writers. The crossing of geographical boundaries allows an in-depth study of the different modes of the grotesque found in 19th-century fiction. It provides a comprehensive analysis of the reasons behind the extensive use of such a favoured mode of expression. Inter.

European fiction --- History and criticism.

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In volume 1 of Trafika Europe, Andrew Singer gathers choice offerings from the first year of the quarterly journal of the same name. These fourteen selections—from seven women and seven men, seven poets and seven fiction writers—represent languages across the Continent, from Shetland Scots and Occitan, Latvian and Polish, Armenian, Italian, Hungarian, German, and Slovenian to Faroese and Icelandic. With some of the most accomplished writing in new translation from Europe today, this volume opens a window onto some emerging contours of European identity. Former ASCAP director of photography Mark Chester complements the writing with sumptuous black-and-white photos. The contributors are Vincenzo Bagnoli, Ewa Chrusciel, Christine DeLuca, Mandy Haggith, Stefanie Kremser, Aurélia Lassaque, Wiesław Myśliwski, Jóanes Nielsen, Edvīns Raups, László Sárközi, Marko Sosič, Jón Kalman Stefánsson, Nara Vardanyan, and Māra Zālīte.

European literature --- European fiction --- European poetry --- Literature - General --- Languages & Literatures

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This study bridges literature and music at an exciting and controversial point, offering the lover of music and literature and the specialist reader an insight into the relationship between Wagner’s operas and the nineteenth century novel, including comparisons with Rigoletto and Der Rosenkavalier in their evolution from other forms. It discusses matters of genre and national tradition, placing Wagner’s works in the heritage of the European Enlightenment. Comparisons of Wagner’s works with the novel have been fleeting, denoting only their length and complexity. Examining in principle and in detail the proximity of Wagner’s themes and techniques to the practices of the Realist novel, this study sheds original light on major issues of Wagner’s works and on opera as genre. The book trawls extensively in two research fields. It looks to the established Wagner literature for understandings of the musical procedures which map his works onto the prose fiction, while reading Wagner’s operas against the backdrop of the European novel, rather than against German Romantic fiction. It revisits Adorno’s music sociology and his seminal study of Wagner, but repositions many elements of his argument. Unusually, this book adopts a critical stance to Nietzsche’s view of Wagner. In marked contrast to Nietzsche, the study regards parallels between Wagner and Flaubert as an enrichment of our understanding of Wagner’s achievement. The book concludes with a major question of European cultural history: why it is that – in common with Italy, but in marked contrast to France or England – Germany’s most representative works in the nineteenth century are operas rather than novels.

Fiction --- Comparative literature --- Literary semiotics --- Wagner, Richard --- European fiction --- European fiction. --- European literature --- History and criticism. --- Wagner, Richard, --- Operas (Wagner, Richard) --- Musikdramen (Wagner, Richard) --- 1800-1899

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Die komparatistische Studie betrachtet den gynozentrischen Roman des 18. Jahrhunderts und den des 19. Jahrhunderts unter gemeinsamen Perspektiven. Zentral steht die Frage nach der Bedeutung der Geschlechtscharakter-Anthropologie für das 19. Jahrhundert. Anhand prominenter Texte der deutschen, englischen und französischen Romanliteratur, die als Verführungsromane weibliche Heldinnen in den Fokus stellen, wird der These einer Kollision von Verstand und Gefühl als spezifisch weibliches Dilemma nachgegangen. Frauen werden dem maßgeblichen Geschlechtscharakterdiskurs zufolge zwar einerseits als emotional definiert, das aktive Ausleben dieser und weiterer ,natürlich weiblicher' Dispositionen bleibt andererseits aber verpönt. Der Vergleich fiktionaler Entwürfe von Weiblichkeit mit normativen Idealen, wie sie zeitgenössische Erziehungsratgeber und Anstandslehren konzipieren, lässt Kontinuitäten und Diskontinuitäten des westeuropäischen Romans in seinen diskursgeschichtlichen Kontexten zutage treten.

European fiction --- Gender identity in literature. --- Heroines in literature. --- Emotions in literature. --- Heroines --- History and criticism.

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In Adulterous Nations, Tatiana Kuzmic enlarges our perspective on the nineteenth-century novel of adultery and how it often served as a metaphor for relationships between the imperial and the colonized. In the context of the long-standing practice of gendering nations as female, the novels discusse-Eliot's Middlemarch, Fontane's Effi Briest, and Tolstoy's Anna Karenina, along with Enoa's The Goldsmith's Gold and Sienkiewicz's Quo Vadis-can be understood as depicting international crises on the scale of the nuclear family. Kuzmic argues that the hopes, anxieties, and interests of European nations in this period can be discerned in the destabilizing force of adultery. Reading the work of Enoa and Sienkiewicz, Kuzmic illuminates the relationship between the literature of dominant nations and that of the semicolonized territories that posed a threat to them. Kuzmic's study enhances our understanding of not only these novels but nineteenth-century European literature more generally.

Nationalism in literature. --- Adultery in literature. --- European fiction --- History and criticism. --- Literature --- Adultery --- George Eliot --- Leo Tolstoy --- Middlemarch --- Poland --- Russia