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. Martin’s Press 1988. Cozarinsky, Edgardo: Borges in/and/on Film. Transl. by Gloria Waldman/Ronald Christ. New York: Lumen 1988. Daemmrich, Horst S./Ingrid G. Daemmrich: Themen und Motive in der Weltlitera- tur. Ein Handbuch. 2. Aufl. Tübingen/Basel: Francke 1995. Dahms, Christiane: Spiegelszenen in Literatur und Malerei. Heidelberg: Synchron 2012 (= Hermeia; 13). de Beaugrande, Robert: »Quantum Aspects of Artistic Perception«, in: Poetics. In- ternational Review for the Theory of Literature 17 (1988), Nr. 4/5, S. 305-332. Doob, Penelope Reed: The Idea of the

- rung der Musik.“ DVjS 63:98-119. Müller-Vollmer, Kurt. 1963. Towards a Phenomenological Theory of Literature. A Study of Wilhelm Dilthey’s Poetik. The Hague. Müller-Wille, Klaus. 2012. „Kierkegaard.“ In von Arburg/Rickenbacher. Hg. 2012, 221-44. Musil, Robert. 1978. Der Mann ohne Eigenschaften. Hrsg. v. Adolf Frisé. Vol. Bd. I, Gesammelte Werke. Reinbek. Nancy, Jean-Luc. 1997. Kalkül des Dichters. Nach Hölderlins Maß. Stuttgart. Naumann, Barbara. Hg. 1990. Musikalisches Ideen-Instrument. Das Musikalische in Poetik und Sprachtheorie der Frühromantik

directions, titles, subheadings, etc. To enable its users to create a readable and playable drama from these fragments, the book is accompanied by a so-called Wurf-Tabelle (“throwing chart”) (fi g. 5). After each throw, the reader must search in the chart for the number of the particular fragment. For produc- ing a complete drama, 200 throws are required. Much later, around 1970, many writers were experimenting with non-linear texts. This tendency was accompanied by infl uential reader-oriented theories of literature such as Umberto Eco’s refl ections on the “open

-Perspektiven: Beiträge zur Gründungskonferenz des »Berli- ner Instituts für Kritische Theorie« e.V. vom 18. bis 20.4.1997 im Jagdschloß Glienicke, Berlin. Hg. Uwe Hirschfeld. Berlin, Hamburg: Argument, 1998. 23-36. Jameson, Frederic. Marxism and Form: Twentieth-Century Dialectical Theories of Literature. Princeton: Princeton UP, 1971. ---. The Political Unconscious: Narrative as a Socially Symbolic Act. Lon- don: Methuen; Ithaca/NY: Cornell UP, 1981. 410 | KULTURKRITIK OHNE ZENTRUM ---. Postmodernism and the Cultural Logic of Late Capitalism. London, New York: Verso; Durham

Phantasiegeschichte und Semantik fantastischer Texte, Frankfurt am Main: Suhrkamp. Lem, Stanislaw (1970): Fantastyka i futurologia. Sv. 1-2, Krakow: Wydawnic- two Literackie. Lem, Stanislaw (1973): “On the Structural Analysis of Science Fiction.” In: Sci- ence Fiction Studies 1/1, pp. 26-33. Lem, Stanislaw (1974): “Todorov’s Fantastic Theory of Literature.” In: Science Fiction Studies 1/4, pp. 227-237. Macmillan English Dictionary for Advanced Learners (2002), Oxford: Macmil- lan Education. Martens, Marianne (2010): “Consumed by Twilight: The Commodification of Young

theory) ranging from Aristotle’s Poetics to Wellek and Warren’s Theory of Literature from 1948. As regards literary history and other handbooks, there are only minor changes from the previous program plan. During the first three years, from 1959 to 1962, all teaching for the grunnfag students was offered by staff from the departments of national language and litera- ture studies. From the revision of the curriculum in 1962, attendance at lectures and seminars was made compulsory, probably as part of the general effort to get rid of the reputation as an “easy

Tales of Henry James. The New York Edition, Bd. 11, New York: Charles Scribner’s Sons, 1922. Jameson, Fredric: Marxism and Form: Twentieth Century Dialectical Theories of Literature, Princeton: Princeton University Press, 1974. ——— Postmodernism. Or, the Cultural Logic of Late Capitalism, Durham: Duke University Press, 1991. ——— The Political Unconscious: Narrative as a Socially Symbolic Act, Ithaca: Cornell University Press, 1981. James, William: Essays in Psychology, Cambridge, Mass.: Harvard University Press, 1983. ——— The Principles of Psychology, New

of the founders of the linguistic circle of Moscow and an influential participant of the poetry group Opoyaz, an acronym formed by the initial letters of the Russian words for the “society for the study of poetic language”. During his early career at the beginning of the twentieth century, he focused on the research of language from a purely formalistic point of view. At this point in time, Russian formalism was not yet a semiotic current; it dealt with questions of esthetics and the theory of literature. Jakobson later became a mem- ber of the linguistic

Ontology, Logic, and the Theory of Literature, trans. George G. Grabowicz (Evans- ton: Northwestern UP, 1973). 127 Ryan, Narrative, 44. 128 Ibid., 44. 129 Ibid., 44-45. Walton differentiates between incomplete worlds (which he equates to fictional worlds that require the appreciator’s filling) and possible worlds (which are complete constructs). (Walton, Mimesis, 64). 130 Ryan, Narrative, 46. 131 Ibid. 132 Aarseth, Cybertext. ESTRANGEMENT THROUGH WORLD AND AGENCY | 273 sense), or is the world a virtual object or stage for the game to take place on?”133

the terms sincerity and authenticity is informed by Lionel Trilling, they are being engaged here only in the broadest sense – “authenticity” to refer to a “state”, and “sincerity” to refer to a “practice”. See Milnes and Sinanan, Romanticism, Sincerity and Authenticity, 4; See also Trilling, Sincerity and Authenticity; For a more recent update and theorisation of “sincerity” as a concept see Bal, van Alphen, and Smith, The Rhetoric of Sincerity. 83 | Agrell, “Documentarism and Theory of Literature,” 43. The Poetics and Politics of Rambling in Iain Sinclair ’s