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This dissertation explores the local gazetteers of West Lake that were compiled by literati of the Ming dynasty. In 1547, the first West Lake gazetteer was published by the local literatus of Hangzhou, Tian Rucheng 田汝成. In the late sixteenth and early seventeenth centuries, accompanying the huge enthusiasm for West Lake and the flourishing of its tourism, the production of West Lake gazetteers reached its peak. This trend, however, was reduced by the turmoils in the last years of the Ming and the dynastic transition, a period when West Lake had also experienced destruction. Nevertheless, the practice was resumed in the first decades of the Qing dynasty by some literati who had survived the disasters. One prominent work of this period was compiled by the Ming loyalist and “remnant subject” Zhang Dai 張岱, who wrote an author’s preface in 1671. This dissertation can be divided into two parts. The first part focuses on the editorial principles of compilers, e.g., which materials are included, how they are organized and presented. It explores various possible intentions of the compilers, such as scholarly and documentary, practical and oriented toward tour-guiding, didactic and educational, and personal and nostalgic ones. The second part focuses on some of the perceptions, attitudes, and values of literati focusing on West Lake. The discourses analyzed in this part include West Lake as a hybrid between metropolitan city and sheer wilderness, as a national symbol and object of nostalgia of the lost dynasty, and as a place of pleasure-seeking and indulgence. While a discourse often had a long tradition and historical development, the emphasis of the study is on the late sixteenth and early seventeenth centuries, i.e., the late Ming.
Die beginnende Photographie als neues Medium war Gegenstand der Kunstdiskussion im 19. Jahrhundert und nahm Einfluss auf die Wahrnehmung der Wirklichkeit. Im Schatten dieser Entwicklungen begann man jedoch auch, sie als zunehmend alltäglich wahrzunehmen und über sie zu schreiben. Diese Arbeit beschäftigt sich mit der besonderen Funktionalität der Photographie in den Texten von Wilhelm Raabe, einem Autor, der das neue Medium tatsächlich mehrfach in seinem Gesamtwerk thematisiert hat. Seine Texte vermögen ein Licht auf grundlegende Bedingungen für den Umgang des Menschen mit Medien zu werfen und dabei Reibungspunkte zu beleuchten, vor allem solche, die den Übergang von einem Medium in ein anderes kennzeichnen.
Die Untersuchung gründet sich sowohl auf erzähltheoretische als auch medientheoretische Basisbetrachtungen und bietet dann, ausgehend davon, einige Deutungsansätze hinsichtlich der Produktivität der Photographie in literarischen Texten.
Es wird deutlich, dass bei Raabe die Photographie als Medium der Erinnerung fungieren kann, welches Vergangenes in Überdeutlichkeit fixiert. An anderen Stellen zeigt sie sich andererseits immer wieder als Medium, welches Krisen und psychologische Ausnahmesituationen der Protagonisten deutlich macht, indem sie bei diesen eine Wahrnehmungsveränderung bewirkt. Nicht zuletzt kann sie – in ihrer Vermittlung durch die Literatur - als Ansatzpunkt für einen poetologischen und kunsttheoretischen Diskurs und zugleich als Grundlage für Überlegungen in Bezug auf die Produktionsbedingungen von Kunst aller Art im 19. Jahrhundert dienen.
This work in the field of digital literary stylistics and computational literary studies is concerned with theoretical concerns of literary genre, with the design of a corpus of nineteenth-century Spanish-American novels, and with its empirical analysis in terms of subgenres of the novel. The digital text corpus consists of 256 Argentine, Cuban, and Mexican novels from the period between 1830 and 1910. It has been created with the goal to analyze thematic subgenres and literary currents that were represented in numerous novels in the nineteenth century by means of computational text categorization methods. The texts have been gathered from different sources, encoded in the standard of the Text Encoding Initiative (TEI), and enriched with detailed bibliographic and subgenre-related metadata, as well as with structural information.
To categorize the texts, statistical classification and a family resemblance analysis relying on network analysis are used with the aim to examine how the subgenres, which are understood as communicative, conventional phenomena, can be captured on the stylistic, textual level of the novels that participate in them. The result is that both thematic subgenres and literary currents are textually coherent to degrees of 70–90 %, depending on the individual subgenre constellation, meaning that the communicatively established subgenre classifications can be accurately captured to this extent in terms of textually defined classes.
Besides the empirical focus, the dissertation also aims to relate literary theoretical genre concepts to the ones used in digital genre stylistics and computational literary studies as subfields of digital humanities. It is argued that literary text types, conventional literary genres, and textual literary genres should be distinguished on a theoretical level to improve the conceptualization of genre for digital text analysis.
Climate
Changes
Global Perspectives
brings together creative approaches to representing environmental crises in a globalized world, which originated in an eponymous symposium hosted virtually by the University of Würzburg in August of 2021. This volume, and the unruly texts that claim space here, are written not only to question and challenge standardized patterns of representation, but also to contribute to undisciplining the genres and practices of traditional academic writing by exploring alternative representational form(at)s.
Climate Changes Global Perspectives is the first publication in the Challenges of Modernity series, which seeks to collect and make available projects of engaged scholarship in the humanities.
This project explores Tan Yunxian's journey of becoming a female doctor in the Ming dynasty. Among all the surviving Ming medical books, Tan Yunxian's medical case book is the only one that was written by a woman. It seems natural, considering she had both scholar-official and medical family backgrounds. Yet, social expectations consider it more suitable for a lady to remain in the household, and not treat patients outside. To legitimize Tan Yunxian's pursuit of a medical career, she applied several strategies to resolve potential criticism toward her and her family. These strategies are analyzed through her autobiographical preface in her medical case book. The project also explores Ming male literatis' perspectives toward Tan Yunxian, the factors that contributed to the preservation and publication of her medical case book, and examined her medical cases under the social-historical and micro-history contexts.
What does it mean to take animal autobiography seriously and how can we account for the representation of life-narrating animals? The article investigates animal autobiographies as ‘literary autozoographies’, drawing attention to both the generic contexts and the epistemological premises of these texts. Adopting a double-bind approach stemming from autobiographical research as well as cultural animal studies, the article focuses on early nineteenth-century equine autozoographies from the German-speaking tradition. These texts are discussed exemplarily in relation to the parameters of fictional autobiographies, before they are contextualized with historical discourses regarding horses in natural history and so-called ‘horse-science’. Due to the fact that the poetics and aesthetics of the genre are modeled on the templates of factual autobiographies, the article argues that literary autozoographies can be read as fictional autobiographies as well as meta-auto/biographical discourse undermining autobiographical conventions. Furthermore, it shows that literary autozoography and zoology share a common historical and ideological epistemology accounting for the representation of animals in both fields. Literary autozoographies thus participate in the negotiation and production of species-specific knowledge. Reading Life of the Mecklenburg Mare Amante (1804), Life of a Job Horse (1807) and Life of a Worn-Out Hack (1819) alongside equine-centric discourses around 1800, the article demonstrates in what ways these texts can be regarded as part of a regime of knowledge attributing emotions and cognitive capacities to horses, while simultaneously arguing for humane treatment on the basis of interspecies homologies.