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David was born in Ormskirk and has lived in Aughton and been at University for most of his life. He has worked in Financial Services, Insurance and in the Law, and in his experience with bureaucracy and administration feels a special affinity with Franz Kafka. He graduated with an LLB degree in Law from Nottingham University in 1985, a GDL from DMU In 2015 and the LLM LPC in Legal Practice from Uclan in 2016. David has always loved Modern Foreign Languages and took a BA in Modern & Medieval Languages (German and Spanish) at Cambridge University from 1999-2003, a Master of Studies in European Literature (German) at Oxford in 2004, was awarded a Master of Arts from Cambridge in 2006, and a Phd in German from Royal Holloway, University of London in 2008. Following his Doctorate in German, he published a reworking of his thesis on Metamorphosis with Rodopi in 2009, wrote some chapters in books and edited collections of Comparative Literature following conferences in Harvard and New Orleans. David was the German Subfield Editor for the Eighteenth Century Current Bibliography from 2006-2013. He has published widely in the fields of German Studies and Comparative Literature.
The origins of selected instances of metamorphosis in Germanic literature are traced from their roots in Ovid's Metamorphoses, grouped roughly on an 'ascending evolutionary scale' (invertebrates, birds, animals, and mermaids). Whilst a broad range of mythological, legendary, fairytale and folktale traditions have played an appreciable part, Ovid's Metamorphoses is still an important comparative analysis and reference point for nineteenth- and twentieth-century German-language narratives of transformations. Metamorphosis is most often used as an index of crisis: an existential crisis of the subject or a crisis in a society's moral, social or cultural values. Specifically selected texts for analysis include Jeremias Gotthelf's Die schwarze Spinne (1842) with the terrifying metamorphoses of Christine into a black spider, the metamorphosis of Gregor Samsa in Kafka's Die Verwandlung (1915), ambiguous metamorphoses in E. T. A. Hoffmann's Der goldne Topf (1814), Hermann Hesse's Piktors Verwandlungen (1925), Der Steppenwolf (1927) and Christoph Ransmayr's Die letzte Welt (1988). Other mythical metamorphoses are examined in texts by Bachmann, Fouqué, Fontane, Goethe, Nietzsche, Nelly Sachs, Thomas Mann and Wagner, and these and many others confirm that metamorphosis is used historically, scientifically, for religious purposes; to highlight identity, sexuality, a dream state, or for metaphoric, metonymic or allegorical reasons.
Latin American Studies examines variously several current themes in Latin American creative life: the theme of disability in contemporary Peruvian-Mexican writer Mario Bellatin’s works, an analysis of the American poet William Carlos Williams together with hispanophile Waldo Frank and the Peruvian José Carlos Mariátegui highlighting the intersection of English and Spanish-speaking Americas; biographical accounts of Latin American figures, confronting the traditional literary criticism that views Latin American writing as an echo of either American or European authors. Cervantes is argued to be the main influence on Gabriel García Márquez rather than William Faulkner, gender is examined in Edwidge Danticat’s writings of the Haitian revolution. Other writers under consideration include the Puerto Rican novelist Edgardo Vega Yunqué, comparison of the Mexican Fernando Del Paso’s playful and encyclopaedic style contrasted with the Cuban José Manuel Prieto’s intercultural and new baroque style. Antes que anochezca the memoirs of Reinaldo Arenas openly deal with homosexuality, and his fantastic blend of fact and fiction which portrays Cuba, Castro and Revolutionary persecution with passion, anger and biting mockery, is transformed significantly by Julian Schnabel in his film adaptation of the memoir, Before Night Falls (2000).
The focus switches to Argentina with the next contribution that uses queer theory to read the historical and artistic specificities of the strangeness of Argentine Lucrecia Martel’s cinema. The collection continues with a consideration of how young filmmakers intervene in the formation of collective memory about the last Argentine dictatorship. Next, Dos veces junio, written by Martín Kohan, and Marco Bechis’ Garage Olimpo, insist on new ways of representing the past as part of a traumatic experience of Argentina’s violent political regime.
This volume examines a variety of comparative literary texts from different periods, literary traditions and cultures that are drawn on to examine metatheatricality and metafictionality. Metatheatre and metafiction are considered for their interrelation, impact and correspondence with seventeenth century French drama, the eighteenth century German novel, twentieth century English drama, an old English epic text, Indian postmodernist fiction, as well as Greek and Roman Classical works of antiquity.
The essays contained in this volume address topics that often overlooked in existing scholarship. The book considers a wider circle of writers of Weimar Classicism and takes into account writers affected and impacted in their lives by the classical project. This present volume includes essays on the main two proponents of Weimar Classicism: Johann Wolfgang von Goethe, and Friedrich Schiller. Others, who lived in Weimar, or were affected by the culture of Weimar Classicism include: Georg Forster and Emilie Berlepsch, Christoph Martin Wieland, Johann Gottfried Herder, and Rudolf Steiner, and the aim is to analyse these writers from predominantly fresh perspectives, using different themes with the intention of continuing to explore and elucidate the extremely complex area of Weimar Classicism.
This collection of essays examines the very dynamics of comedy, jokes and laughter. It utilizes theories from early writings of antiquity to contemporary modern-day fiction. Traditionally, comedy has suffered from a rather poor standing within the history of literature, and it is only in this and the last century that the critical theory of comedy has started to receive the scholarly attention it merits. In ancient Greece, a comedy concluded a night at the tragic theatre; the comedy thus gained its legitimacy secondhand from the dramas it followed, and these comedies were followed by the Roman authors Plautus and Terence, who translated many of the lost Greek comedies of the fourth century BC. The only fragment that survives of the first work of literary theory in the western tradition, "Aristotle's Poetics", is an impassioned defense of tragedy and the Homeric epic against Plato's' philosophical misgivings about art in general: the long, concluding section on comedy is lost to posterity. The later comedic writers and comedies which have been deemed significant have been treated as such because of their anomalous, comedic character.
World Cinema and the Visual Arts' combines new analyses of two subjects of ongoing research in the field of humanities: cinema and the visual arts. Originally presented at the American Comparative Literature Association Conference 2010 in New Orleans, the papers of this volume have been expanded and extended from their original points of enquiry, and analyse films from the diverse cultural traditions of China, Germany, the United Kingdom, America, Northern Ireland and India.