@misc{Karremann2014,
  author    = {Karremann, Isabel},
  title     = {April London.The Cambridge Introduction to the Eighteenth-Century Novel. Cambridge Introductions to Literature. Cambridge: Cambridge University Press, 2012, 260 pp., \$ 26.99 pb.},
  series = {Anglia},
  volume    = {132},
  journal   = {Anglia},
  number    = {3},
  issn      = {1865-8938},
  doi       = {10.1515/ang-2014-0064},
  url       = {http://nbn-resolving.de/urn:nbn:de:bvb:20-opus-195307},
  pages     = {611-615},
  year      = {2014},
  abstract  = {No abstract available.},
  language  = {en}
}
@book{Harms2018,
  author    = {Harms, Dirk},
  title     = {Lyrik und Kunst, Musik und Lyrik. Der Einfluss von William Blake auf Van Morrison.},
  url       = {http://nbn-resolving.de/urn:nbn:de:bvb:20-opus-163390},
  publisher      = {Universit{\"a}t W{\"u}rzburg},
  year      = {2018},
  abstract  = {Diese Arbeit schildert auf der Basis einer Analyse der intermedialen Struktur der Werke zweier K{\"u}nstler aus unterschiedlichen Jahrhunderten die Transportierung eines mystischen Selbstverst{\"a}ndnisses, das als Tiefenstruktur der zugrundeliegenden Werke ausgemacht wird. Deshalb sieht diese Arbeit beide K{\"u}nstler als christliche Mystiker an, deren Weltbild keine grundlegenden Unterschiede aufweist. Dar{\"u}berhinaus wird {\"u}ber diese beiden Autoren versucht die kontrovers diskutierte Aktualit{\"a}t von Mystik in der Gegenwart herauszustellen. Zentraler Teil und Ausgangspunkt der Ergebnisse ist hierbei die Analyse eines mystischen Wertesystems, das sich in den Prophecies von William Blake finden l{\"a}sst und das sich in wesentlichen Punkten auf die Werke von Van Morrison {\"u}bertragen l{\"a}sst.},
  subject      = {Mystik},
  language  = {de}
}
@article{Pordzik2017,
  author    = {Pordzik, Ralph},
  title     = {George Orwell's Imperial Bestiary: Totemism, Animal Agency and Cross-Species Interaction in "Shooting an Elephant", Burmese Days and "Marrakech"},
  series = {Anglia},
  volume    = {135},
  journal   = {Anglia},
  number    = {3},
  issn      = {1865-8938},
  doi       = {10.1515/ang-2017-0045},
  url       = {http://nbn-resolving.de/urn:nbn:de:bvb:20-opus-194200},
  pages     = {440-466},
  year      = {2017},
  abstract  = {This essay argues that Orwell's representation of animals as companion species offers a strikingly new, as-yet largely neglected view of animal agency and interiority in his work. In "Shooting an Elephant", Burmese Days and "Marrakech", the writer's focus on the social reject is supplemented by a marked sense of community implying human tragedy yet framing it within precariously situated human-animal, colonial or urban-imperial transitions that visualise animals as agents of change and co-shaping species interdependent with the lives of the humans that utilize and domineer them. Animals are required whenever Orwell aspires to shift from isolation to communality, from the self-conscious outsider to the larger realm of ideas framing the world in which his characters strive to overstep the accepted lines of social performance and conformity. Read in and around disciplinary structures of rationalization, Orwell's animals appear to secure themselves, quite paradoxically, a place within the normative anthropocentric framework excluding them. They extend beyond anthropomorphising or allegorical modes of description and open up bio-political perspectives within and across regimes of knowledge and empathy. Orwell's writings thus present a challenge to the culturally accredited fantasy of human exceptionalism, collapsing any epistemic space between humans and animals and burying the idea of sustaining radical species distinction.},
  language  = {en}
}
@article{Huettner2017,
  author    = {Huettner, Sabrina},
  title     = {Nelson Pressley. American Playwriting and the Anti-Political Prejudice: Twentieth- and Twenty-First Century Perspectives. Basingstoke: Palgrave Macmillan, 2014, ix + 185 pp, \$69.99.},
  series = {Journal of Contemporary Drama in English},
  volume    = {5},
  journal   = {Journal of Contemporary Drama in English},
  number    = {1},
  issn      = {2195-0164},
  doi       = {10.1515/jcde-2017-0019},
  url       = {http://nbn-resolving.de/urn:nbn:de:bvb:20-opus-194210},
  pages     = {217-222},
  year      = {2017},
  abstract  = {No abstract available},
  language  = {en}
}
@misc{Karremann2016,
  author    = {Karremann, Isabel},
  title     = {Hans-Peter Wagner. An Introduction to British and Irish Fiction: Renaissance to Romanticism. Trier: Wissenschaftlicher Verlag Trier, 2014, 262 pp., 60 illustr., € 29.50.},
  series = {Anglia},
  volume    = {134},
  journal   = {Anglia},
  number    = {4},
  issn      = {1865-8938},
  doi       = {10.1515/ang-2016-0078},
  url       = {http://nbn-resolving.de/urn:nbn:de:bvb:20-opus-194309},
  pages     = {711-715},
  year      = {2016},
  abstract  = {No abstract available.},
  language  = {en}
}
@misc{Schulze2014,
  author    = {Schulze, Daniel},
  title     = {Josephine Machon. Immersive Theatres: Intimacy and Immediacy in Contemporary Performance. Basingstoke: Palgrave, 2013, xix + 324 pp., € 22,30.},
  series = {Journal of Contemporary Drama in English},
  volume    = {2},
  journal   = {Journal of Contemporary Drama in English},
  number    = {2},
  issn      = {2195-0164},
  doi       = {10.1515/jcde-2014-0037},
  url       = {http://nbn-resolving.de/urn:nbn:de:bvb:20-opus-194050},
  pages     = {356-360},
  year      = {2014},
  abstract  = {No abstract available.},
  language  = {en}
}
@article{Schulze2015,
  author    = {Schulze, Daniel},
  title     = {The Passive Gaze and Hyper-Immunised Spectators: The Politics of Theatrical Live-Broadcasting},
  series = {Journal of Contemporary Drama in English},
  volume    = {3},
  journal   = {Journal of Contemporary Drama in English},
  number    = {2},
  issn      = {2195-0164},
  doi       = {10.1515/jcde-2015-0024},
  url       = {http://nbn-resolving.de/urn:nbn:de:bvb:20-opus-195091},
  pages     = {315-326},
  year      = {2015},
  abstract  = {No abstract available.},
  language  = {en}
}
@misc{Harms2004,
  type      = {Master Thesis},
  author    = {Harms, Dirk},
  title     = {Lyrik und Kunst, Musik und Lyrik: Der Einfluss von William Blake auf Van Morrison: Adaption oder Interpretation?},
  url       = {http://nbn-resolving.de/urn:nbn:de:bvb:20-opus-50182},
  school      = {Universit{\"a}t W{\"u}rzburg},
  year      = {2004},
  abstract  = {Diese Arbeit schildert auf der Basis einer Analyse der intermedialen Struktur der Werke zweier K{\"u}nstler aus unterschiedlichen Jahrhunderten die Transportierung eines mystischen Selbstverst{\"a}ndnisses, das als Tiefenstruktur der zugrundeliegenden Werke ausgemacht wird. Deshalb sieht diese Arbeit beide K{\"u}nstler als christliche Mystiker an, deren Weltbild keine grundlegenden Unterschiede aufweist. Dar{\"u}berhinaus wird {\"u}ber diese beiden Autoren versucht die kontrovers diskutierte Aktualit{\"a}t von Mystik in der Gegenwart herauszustellen. Zentraler Teil und Ausgangspunkt der Ergebnisse ist hierbei die Analyse eines mystischen Wertesystems, das sich in den Prophecies von William Blake finden l{\"a}sst und das sich in wesentlichen Punkten auf die Werke von Van Morrison {\"u}bertragen l{\"a}sst.},
  subject      = {Blake},
  language  = {de}
}
@phdthesis{Shanneik2009,
  author    = {Shanneik, Yafa},
  title     = {'Weder vom Osten noch vom Westen': Intermediacy in ausgew{\"a}hlten Werken deutsch- und englischsprachiger Literatur von Autorinnen und Autoren arabischer Abstammung},
  url       = {http://nbn-resolving.de/urn:nbn:de:bvb:20-opus-37403},
  school      = {Universit{\"a}t W{\"u}rzburg},
  year      = {2009},
  abstract  = {Diese Dissertationsarbeit konzentriert sich in ihrer Untersuchung auf englischsprachige Romane, die von zeitgen{\"o}ssischen Autorinnen arabischer Herkunft verfasst worden sind, und stellt sie in den Kontext postkolonialer und feministischer Literatur. Ahdaf Soueifs Roman In the Eye of the Sun (1992), Fadia Faqirs Roman Pillars of Salt (1997) und Leila Aboulelas zwei Romane The Translator (1999) und Minaret (2005) sind Gegenstand der Untersuchung. Zum Vergleich werden auch zwei deutschsprachige Romane von Autoren arabischer Herkunft miteinbezogen: Jusuf Naoums Nura. Eine Libanesin in Deutschland (1996) und Rafik Schamis Die dunkle Seite der Liebe (2004). Obwohl der Grad kolonialer Herrschaft Großbritanniens im arabischen Nahen Osten nicht so stark ausgepr{\"a}gt war wie in den ehemaligen Kolonien, die nun Mitglieder des Commonwealth sind, und deswegen die untersuchten Romane nicht als Widerstandsliteratur wie viele andere Beispiele postkolonialer Literatur charakterisiert werden k{\"o}nnen, sind die Suche nach und Konstruktion von kulturellen Identit{\"a}ten wichtiger Bestandteil der untersuchten Romane. Diese Literatur kann als Beispiel eines neuen Forschungsgebietes innerhalb des weiten Spektrums postkolonialer Literatur angef{\"u}hrt werden, die sich mit den Erfahrungen von Angeh{\"o}rigen ehemaliger britischer Kolonien befasst, die niemals Teil des Commonwealth waren. Als analytisches Hilfsmittel wird in der Arbeit der Begriff intermediacy verwendet, wie er von der amerikanischen Feministin und Ethnologin Sherry Ortner in ihrem grundlegenden Artikel zur Sexualisierung der Natur/Kultur Dichotomie definiert wird. Intermediacy wird als Zustand des Dazwischenseins verstanden, in dem klare geschlechtliche, kulturelle, ethnische und nationale Identit{\"a}tsabgrenzungen dekonstruiert werden. Dieser Begriff ist besonders n{\"u}tzlich, die Konstruktion von literarischen Subjekten in den untersuchten Romanen zu verstehen, deren Protagonisten zwischen verschiedenen Kulturen, geographischen R{\"a}umen und Konstruktionen von geschlechtlichen und kulturellen Identit{\"a}ten oszillieren. Gesellschaften des arabischen Nahen Ostens werden dargestellt, in denen traditionelle Geschlechterrollenverst{\"a}ndnisse durch den Einfluss von Kolonialismus, Modernisierung und Globalisierung unterwandert worden sind. Die Protagonisten erscheinen verwirrt {\"u}ber ihre gesellschaftlichen Rollen, die zum großen Teil von traditionellen Werten bestimmt werden aber zugleich auch aufgrund verschiedener interner und externer Faktoren ausgeh{\"o}hlt worden sind. Die Untersuchung wendet den Begriff intermediacy nicht nur im Bezug auf gender an, wie es Ortner tut, sondern auch auf die Fluidit{\"a}t kultureller Identit{\"a}ten in einer globalisierten und postkolonialen Welt. Die untersuchten Romane portr{\"a}tieren Individuen, die nach verl{\"a}sslichen Markierungen ihrer kulturellen Identit{\"a}ten suchen, wie z.B. in Form einer transnationalen und transkulturellen islamischen Identit{\"a}tsstiftung, und zugleich das Scheitern dieser Sinnstiftungen erfahren m{\"u}ssen. Somit stellt diese Arbeit die behandelten Romane nicht nur in den Themenkomplex der Identit{\"a}tskonstruktionen postkolonialer Literatur, sondern setzt sie auch mit der allgemeinen Dekonstruktion des Subjekts in postmodernen Romanen in Verbindung.},
  subject      = {Postkoloniale Literatur},
  language  = {de}
}
@phdthesis{Hautmann2009,
  author    = {Hautmann, Christoph},
  title     = {"And men whose heads do grow beneath their shoulders" - Encountering the Other in the Illustrations of Shakespeare's "The Tempest" and "Othello" in the Eighteenth and Nineteenth Centuries},
  url       = {http://nbn-resolving.de/urn:nbn:de:bvb:20-opus-45383},
  school      = {Universit{\"a}t W{\"u}rzburg},
  year      = {2009},
  abstract  = {Adducing a number of illustrations of Shakespeare's "The Tempest" and "Othello", the purpose of this study is to analyze the transformative processes that took place in the 18th and 18th centuries in Great Britain, regarding the cultural, political and social aspects of its encounters with the other. In this context, especially the depiction of the characters Caliban and Othello are taken into consideration.},
  subject      = {Shakespeare},
  language  = {en}
}
@phdthesis{Schaub2012,
  author    = {Schaub, Kerstin},
  title     = {As Written in the Flesh. The Human Body as Medium of Cultural Identity and Memory in Fiction from New Zealand},
  url       = {http://nbn-resolving.de/urn:nbn:de:bvb:20-opus-78336},
  school      = {Universit{\"a}t W{\"u}rzburg},
  year      = {2012},
  abstract  = {This dissertation focuses on selected novels written by contemporary indigenous authors from Aotearoa/New Zealand and examines the fictional imagination of the human body as a medium of cultural identity and memory. The novels discussed are Keri Hulme's »The Bone People« (1984), »Nights in the Gardens of Spain« (1995) and »The Uncle's Story« (2000) by Witi Ihimaera as well as James George's »Hummingbird« (2003). In order to further decolonisation processes and to come to terms with the colonial past and the complexity of present realities, the fictional works position the human body as an active entity in the negotiation of specific cultural epistemologies. This project explores the narrative translation of corporeality that is used to locate alternative concepts of identity and cultural memory. Taking into account indigenous perspectives, this thesis makes use of the current theoretical approaches presented by pragmatism and affect theory in order to analyse the investment of the novels in feeling and the reciprocal relationship between text and corporeality depicted by the narratives. On the one hand, the novels aim to undermine oppressive and marginalising categories by placing particular emphasis on »sensuous gaps« in the text. On the other hand, the narratives intend to construct alternative identities and evoke specific aspects of indigenous histories and knowledge by imagining the human body in terms of »sensuous inscription«. The novels portray individuals who act from a place in-between different cultures, and articulate a desire to dissolve polarities and emphasise individual and cultural transformation as a formative element in the creation of complex identities and new perspectives.},
  subject      = {Postkoloniale Literatur},
  language  = {en}
}
@phdthesis{Wagner2005,
  author    = {Wagner, Iris},
  title     = {Kanadas Gesellschaft im Spiegel des Familiendramas - ein kulturwissenschaftlicher Beitrag zum anglo-kanadischen Theater der Gegenwart},
  url       = {http://nbn-resolving.de/urn:nbn:de:bvb:20-opus-20082},
  school      = {Universit{\"a}t W{\"u}rzburg},
  year      = {2005},
  abstract  = {Seit dem aufsehenerregenden Aufschwung des anglo-kanadischen Theaters in den 60er Jahren des zwanzigsten Jahrhunderts hat das sozialkritische Drama in seinen zahlreichen Facetten die Kulturlandschaft in Kanada entscheidend gepr{\"a}gt. "Fragen pers{\"o}nlicher Identit{\"a}t in Familie, Gesellschaft und Kultur", erl{\"a}utert die Kritikerin Judith Rudakoff, "wurden von einer Gruppe ganz unterschiedlicher Dramatiker miteinander verbunden. Ihre in Form und Inhalt individuellen Aussagen wirkten zusammen und f{\"u}hrten zu einer Vorstellung von Kanada als einem Wandteppich von besonderer Vielfalt." Eine Form des sozialkritischen Dramas erwies sich dabei als besonders geeignet, um soziale Aspekte zu thematisieren und die Wechselwirkung zwischen Familie und Gesellschaft aufzuzeigen: das Familiendrama. "Die Familie", so der bekannte Literaturwissenschaftler Jerry Wasserman, "k{\"o}nne beschrieben werden als "a crucible in which character and identity are forged and through which society's values are perpetuated or challenged." Die Familie dient folglich als ein Scharnier zwischen individueller und gesellschaftlicher Sph{\"a}re, als eine Art Mikrokosmos, in dem sich der Makrokosmos in vereinfachter und gleichzeitig versch{\"a}rfter Form wiederspiegelt. Sie ist sozialer Angelpunkt in der kanadischen Gesellschaft und thematischer Schwerpunkt im Gegenwartsdrama des Landes. Trotz seiner herausragenden Stellung innerhalb der kanadischen Theaterlandschaft und seiner großen Popularit{\"a}t bei der Bev{\"o}lkerung hat das kanadische Drama - insbesondere das Familiendrama - bisher nur geringe Beachtung erhalten. Wie unbegr{\"u}ndet diese Missachtung ist, zeigt die vorliegende Dissertation, die herausragende Beispiele des kanadischen Familiendramas unter kulturwissenschaftlichen Fragestellungen untersucht. Zur Analyse herangezogen werden Dramen von Schriftstellerinnen und Schriftstellern der weißen Mehrheitskultur, verschiedener ethnischer Gruppen, sowie der First Nations, welche in jeweils in sich geschlossenen Kapiteln diskutiert und interpretiert werden. Das vornehmliche Ziel der Dissertation besteht darin, diese in Form, Inhalt und Aussage sehr unterschiedlich gestalteten Dramen zu verbinden und durch dieses Mosaik an Theaterst{\"u}cken zu einem differenzierten und multiperspektivischen Einblick in das Mosaik Kanadas zu erlangen. Dabei zeigt sich, dass traditionelle Konzepte von Familie ebenso {\"u}berdacht werden m{\"u}ssen wie die weitverbreitete Vorstellung von Kanada als einer in sich harmonisch existierenden multikulturellen Gesellschaft.},
  subject      = {Kanada},
  language  = {de}
}
@phdthesis{Leibnitz2005,
  author    = {Leibnitz, Kimiko},
  title     = {Die Frauenfiguren in Hamlet-Verfilmungen des 20. Jahrhunderts},
  url       = {http://nbn-resolving.de/urn:nbn:de:bvb:20-opus-19478},
  school      = {Universit{\"a}t W{\"u}rzburg},
  year      = {2005},
  abstract  = {Diese Dissertation liefert einen kulturhistorischen {\"U}berblick {\"u}ber die Darstellung der Frauenfiguren Gertrude und Ophelia in Hamlet-Verfilmungen des 20. Jahrhunderts. Die beiden weiblichen Gestalten werden dabei im Hinblick auf ihr {\"a}ußeres Erscheinungsbild wie auch ihre Charakterzeichnung vor dem historischen, kulturellen, politischen und gesellschaftlichen Entstehungshintergrund der Filme beleuchtet. Die Analysen konzentrieren sich ausschließlich auf Kinofilme, da diese ein wesentlich breiteres Publikum erreichen als etwa die diversen B{\"u}hnen- oder Textfassungen des St{\"u}cks. Die erste der insgesamt zwanzig untersuchten Leinwandfassungen entstand im Jahre 1900, die letzte kam 2000 in die Kinos - die vorliegende Arbeit behandelt also eine genau 100-j{\"a}hrige Tradition der Hamlet-Verfilmungen.},
  subject      = {Shakespeare},
  language  = {de}
}
@book{Bach1977,
  author    = {Bach, Ulrich},
  title     = {Das Testament als literarische Form: Versuch einer Gattungsbestimmung auf der Grundlage englischer Texte},
  isbn      = {3-87784-023-X},
  url       = {http://nbn-resolving.de/urn:nbn:de:bvb:20-opus-47204},
  publisher      = {Universit{\"a}t W{\"u}rzburg},
  year      = {1977},
  abstract  = {Literary imitations of the testament form have a European tradition going back to classical times and constitute a neglected part of English literature. Although examples appear from the 14th century onwards, no thorough study of last wills and testaments as a specific form of English literature has been undertaken. This neglect may be because, within the broad field of the literary idea of 'legacy', parodies of the testament form ('mock testaments') and serious imitations ('lovers' testaments' etc.) appear in nearly every genre as either single texts or parts of larger ones, themselves crossing the genre boundaries. Then too, a large number of literary testaments come under the heading of 'minor literature' , such as shortlived pamphlets and broadsides. Yet the use which major authors like Shakespeare and Donne made of the literary testament shows that it had become an established form in the 16th century. The texts under examination here would normally be referred to as courtly love poems, political pamphlets, jests, cook-books, nursery rhymes, epic poems, autobiographical verse (Chatterton's Will), modern poems (yeats, Auden and McNeice) or as parts of masques, plays or novels. The aim is to show that one can legitimately speak of all these texts as belonging to a single literary category. In addition to adescription of the history of the literary testament in England, the central problem of this study was one of generic form. The attempt has been made to apply recent ideas of genre theory, i.e., the structuralist generative approach, to texts imitating a non-literary or utility document. This non-literary model is narrowly defined by criteria set by the Church and the Law. Thus it becomes possible to proceed as if the model were the generic norm of a corpus of greatly varying literary texts, thereby avoiding the problems of defming and re-defming selective principles (and of the need to assume a hypothetical 'first form') for the gathering of texts. The testament is a private re cord especially weil suited for studies of this kind because of its traditional fixed form and wide popularization from the Middle Ages onwards. In its complexity, the testament allows for more variation of style, content and purpose than does the letter, but is more disciplined in its form. In categorizing the testaments as such, it is necessary to study contemporary connotations and to defme the basic structure of the model. A selection of genuine, nonficticious testaments drawn up by members of the University of Cambridge in the 16th century has been examined for this purpose. (The 16th and 17th centuries can be taken as the most productive of literary testament writing.) There seems to exist a dichotomy in the testament itself; on the one hand there are mundane considerations (bequeathing of property) and on the other thoughts directed towards the life to come. Ihis dichotomy is observable not only on the content level, but also on the formal level and the semantic level. Ihe relation between the two testamentary elements, which is characterized by polarization, can be postulated as the basic structure of the testament and as the genre norm of the literary texts examined here. Taking into account the fact that the testament has been of varying importance in various ages, a wide selection of literary imitations of the testament from Chaucer to Yeats and after is studied in detail. A distinction may be drawn between mock testaments and serious imitations, with the former representing rebellion against the exalted authorities behind the testament. When the theoretical rebellion coincides with the practical function of satire or attack in a particular case, then the mock testament is raised to a true literary form. The serious imitation, on the other hand, makes use of the metaphysical element of the testament, and is directed to a worldly being or to the 'human condition' (as in examples drawn from the modern poets). Its problems and aim assign this study to the wider fjeld of genre research, particularly research into the relationship between genuine documents (utility texts) and their literary imitations.},
  subject      = {Englisch},
  language  = {de}
}
@book{Bach1982,
  author    = {Bach, Ulrich},
  title     = {Kommentierte Bibliographie englischer literarischer Testamente vom 14. bis zum 20. Jahrhundert},
  isbn      = {3-533-03182-9},
  url       = {http://nbn-resolving.de/urn:nbn:de:bvb:20-opus-47190},
  publisher      = {Universit{\"a}t W{\"u}rzburg},
  year      = {1982},
  abstract  = {No abstract available},
  subject      = {Englisch},
  language  = {de}
}
@phdthesis{Nickel2006,
  author    = {Nickel, Horatiu-Lucian},
  title     = {Ludic Caribbean : Cultural Representations of Trinidad in V.S. Naipaul's Fiction},
  url       = {http://nbn-resolving.de/urn:nbn:de:bvb:20-opus-21715},
  school      = {Universit{\"a}t W{\"u}rzburg},
  year      = {2006},
  abstract  = {Trinidad, V.S. Naipaul's native island, is consistently represented in the 2001 Nobel Prize winner's fictional works, above all in "The Mystic Masseur" (1957), "The Suffrage of Elvira" (1958), "Miguel Street" (1959), "A House for Mr Biswas" (1961), "A Flag on the Island" (1967), "The Mimic Men" (1967), "In a Free State" (1971), "Guerrillas" (1975), "The Enigma of Arrival" (1987) and "A Way in the World" (1994). The present dissertation analyses representations of Trinidad as "play-culture" in the aforementioned writings by initiating a methodological dialogue between postcolonial/cultural studies on the one hand and performance studies, play theory, as well as cultural anthropology on the other hand. The study is divided into three parts corresponding to the three main facets of Trinidad as it appears in Naipaul's fiction: firstly, as a childish world; secondly, as a festive place and thirdly, as a playground for the western imagination. The image of Trinidad as a childish space stands at the intersection of the autobiographical genre with the colonial/Social Darwinist discourse of the so-called "child races". In both cases we have to do with a cultural construct of childhood whose main stereotypical features are smallness, imitation, irrationality and of course, playfulness. The second part of the dissertation focuses on the importance of rituals and festivals in shaping up Indian and African identities in Trinidad. Roughly, Hindu rituals are capital means to create diasporic Indias, whereas Carnival is a powerful symbol of the Afro-Trinidadian community. Nevertheless, they carry the potential of becoming genuine liminal spaces, where ethnic boundaries are transgressed. The third section is devoted to a discourse of play as imagination. In this respect, Trinidad appears as an adventure playground where the Westerner projects his/her desires, sometimes under the mask of scientific respectability. The eye of the European sees the tropical island as an exotic Garden of Eden, as an aesthetic space with strong pictorial and theatrical qualities. But if Trinidad occurs as an artistic, a fictional object, then Naipaul's novels and stories describing it are fiction about fiction, and so have a very important metafictional component. At this stage, since metafiction is also a capital element of postmodernism, I trace back Naipaul's ludic metaphors to the present-day Zeitgeist, pointing out the postmodern elements in his texts dealing with Trinidad.},
  subject      = {Naipaul},
  language  = {en}
}
@incollection{Roy2023,
  author    = {Roy, Abhilasha},
  title     = {Countercultures around the World: A Postcolonial Reading of Paul Gilroy's The Black Atlantic},
  series = {Global Cultural Studies? Engaged Scholarship between National and Transnational Frames},
  booktitle = {Global Cultural Studies? Engaged Scholarship between National and Transnational Frames},
  editor    = {Jetter, Tobias},
  publisher = {W{\"u}rzburg University Press},
  address   = {W{\"u}rzburg},
  doi       = {10.25972/WUP-978-3-95826-207-2-7},
  url       = {http://nbn-resolving.de/urn:nbn:de:bvb:20-opus-305829},
  publisher      = {W{\"u}rzburg University Press},
  pages     = {7-19},
  year      = {2023},
  abstract  = {No abstract available.},
  subject      = {Kulturwissenschaften},
  language  = {en}
}
@incollection{Khapai2023,
  author    = {Khapai, YS Sochuiwon Priscilla},
  title     = {Rethinking the Culture of Education with Raymond Williams},
  series = {Global Cultural Studies? Engaged Scholarship between National and Transnational Frames},
  booktitle = {Global Cultural Studies? Engaged Scholarship between National and Transnational Frames},
  editor    = {Jetter, Tobias},
  publisher = {W{\"u}rzburg University Press},
  address   = {W{\"u}rzburg},
  doi       = {10.25972/WUP-978-3-95826-207-2-33},
  url       = {http://nbn-resolving.de/urn:nbn:de:bvb:20-opus-305854},
  publisher      = {W{\"u}rzburg University Press},
  pages     = {33-44},
  year      = {2023},
  abstract  = {No abstract available.},
  subject      = {Kulturwissenschaften},
  language  = {en}
}
@incollection{Mantraraj2023,
  author    = {Mantraraj, Sudeeti Geeta},
  title     = {Strategies for Survival and Resources for Resistance},
  series = {Global Cultural Studies? Engaged Scholarship between National and Transnational Frames},
  booktitle = {Global Cultural Studies? Engaged Scholarship between National and Transnational Frames},
  editor    = {Jetter, Tobias},
  publisher = {W{\"u}rzburg University Press},
  address   = {W{\"u}rzburg},
  doi       = {10.25972/WUP-978-3-95826-207-2-171},
  url       = {http://nbn-resolving.de/urn:nbn:de:bvb:20-opus-305948},
  publisher      = {Universit{\"a}t W{\"u}rzburg},
  pages     = {171-180},
  year      = {2023},
  abstract  = {No abstract available.},
  subject      = {Kulturwissenschaften},
  language  = {en}
}