Marianne Henn

Marie von Ebner-Eschenbach

Lotti, die Uhrmacherin

Irmela von der Lühe

Anita Runge

Auf wie vielfältige Weise Autorinnen das Historische konstruiert haben, wird anhand von Beispielen aus dem 18. bis 20. Jahrhundert gezeigt. Gattungsgeschichte und -theorie des >historischen Romans

Konstruktionen von Vergangenheit in literarischen Werken deutschsprachiger Autorinnen seit dem 18. Jahrhundert

Geschichte(n)--erzählen

Marie von Ebner-Eschenbach (1830-1916) is recognized as one of the leading German-speaking prose writers but she began her writing with historical tragedies. For the first time, this edition presents a complete and critical genesis of the texts, based on handwritten manuscripts and printed versions. It provides the two completed tragedies with their textual changes and her authorized version as well as the historical plays that remained fragments: »Maria Stuart in Schottland«, »Marie Roland«, »Richelieu« und »Jacobäa«. With the exception of the virtual ruler of France, Richelieu, Ebner-Eschenbach chose as heroines powerful women in historically turbulent times and portrayed them in their greatness and weakness, thereby providing an alternate female perspective on history.

Die historischen Tragödien »Maria Stuart in Schottland«, »Marie Roland«, »Richelieu«, »Jacobäa«

Clemens Ruthner

Raleigh Whitinger

This book is a collection of essays by prominent North American and European experts in Austrian literature concerning the Austrian playwright and author Franz Grillparzer, his relationship to various literary traditions, and his reception from the nineteenth century to the present. The chapters originated at a symposium held in February of 2003 at the University of Alberta sponsored by the University of Alberta's Wirth Institute for Austrian and Central European Studies.

ANEIGNUNGEN, ENTFREMDUNGEN. THE AUSTRIAN PLAYWRIGH

Holger Pausch

In opposition to an essentialist conceptualization, the social construct of the human body in literature can be analyzed and described by means of effective methodologies that are based on Discourse Theory, Theory of Cultural Transmission and Ecology, System Theory, and Media Theory. In this perspective, the body is perceived as a complex arrangement of substantiation, substitution, and omission depending on demands, expectations, and prohibitions of the dominant discourse network. The term Body-Dialectics stands for the attempt to decipher – and for a moment freeze – the web of such discursive arrangements that constitute the fictitious notion of the body in the framework of a specific historic environment, here in the Age of Goethe.

Marianne Henn

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