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, Claudia. Muggles, Monsters and Magicians: A Literary Analysis of the Harry Potter Series. Frankfurt a.M.: Peter Lang, 2008. Fiske, John. Understanding Popular Culture. London: Routledge, 2006. ---. “Culture, Ideology, Interpellation.” Literary Theory: An Anthology. Ed. Julie Rivkin and Michael Ryan. Malden, MA: Blackwell Publishing, 2004. 1268-273. ---. “British Cultural Studies and Television.” What is Cultural Studies? A Reader. Ed. John Storey. London: Arnold, 1996. 115-46 Foucault, Michel. Discipline and Punish: The Birth of the Prison. [1975]. New York

generally calls out for an innovative focus on the physical and Roberto Simanowski | Reading Digital Literature 23 physiological situatedness of reading, which Ensslin initiates with her reading of The Breathing Wall. Informed by traditional literary studies rather than by the poetics of a tra- ditional genre is the methodical model provided in Zuern’s close reading ex- ample that focuses on the figuration in digital and non-digital literature. Such a focus is common practice in literary analysis, though now figuration is ana- lyzed not only in verbal but also in

; hence, philosophy of law has become a fundamental aspect of literary analysis. Even more than this, literature in the postmodern period became self-conscious and aware of its tools of analysis. Therefore, if in the past law entered the literary text in a subconscious way, stealthily and almost without the text being aware of its presence, now, the many theories stemming out of the legal field and the debates about law as literature and law in literature have transformed the literary perspective. Literature has become more watchful, and writers, if they 1 | Cf

Carpenter, sections from Darwin’s Voy- age of the Beagle, Conrad’s Heart of Darkness and an Elizabeth Bishop poem. In many ways these sort of works can be grouped together under the rubrics of intertextuality, remix, remediation, mash-up etc., all of which are recognised critical categories within literary analysis. The difference is that the texts are in a constantly shifting dialogue with each other, which performatively fore- grounds certain aspects and brings to light unexpected links or discontinuities. A more provocative example of digital texts in dialogue

criticism, however. While ac- knowledging the importance of the humoral model, recent works have drawn attention to the importance of the plurality of early modern discourses on the passions and their importance for literary analysis, including political thought, religion and theology, and rhetoric and style.9 For the purpose of this paper, to analyse the passions in scenes of magic in plays, two of these are especially important: religion, especially as it relates to magic, and rhetoric, especially as it relates to the theatre. Taking an active role in the

sanction one mode of explaining over another.31 In order to establish a relation and continuity with the above developments in literature and the related emancipation in literary analysis, I suggest a working label for this project’s corpus of urban narratives. Broadly speaking, the term literary documentary will be used in this project to refer to the narrative mode of the corpus. By narrative mode, I mean the manner in which the narrative is rendered. In other words, literary documentary refers to the individual documentary and narrative strategies chosen to

examples mentioned in Iser’s theory and explores additional ways of opening up such spaces for the reader. Quite generally, it can be said that the way in which heterotopic spaces are represented contributes to the creation of interactive heterotopic spaces and provides a basis for the literary analysis of textual strategies and their potential effects on readers. However, the present work suggests that the relationship between the two levels is much more complex than that. It also sets out to explore the extent to which the representa- tional and the interactive level

changeable. (58) Estrangement is therefore a technique that pursues some distancing on the part of the reader, within the realm of literary analysis, in order to show the unnaturalness of what we perceive to be natural. So, in the sameway, Judith Butler defends gender as a social construct, in an attempt to make us reflect on the way in which socio- historical evolutions are the basis of our constructions of gender, showing how these constructions are far from natural, so does estrangement in both the novel and the short story function as an attention caller in order to

Motiv frühromantischer Produktionstheorie auf- zugreifen und die Möglichkeit einer Konstruktion a priori als erster in der poetischen Praxis unter Beweis zu stellen. Der Ehrgeiz, auf diese Weise die Poesie im Sinne des Novalis, durch das Wissen, das sie mit den Mit- teln der Wissenschaft von sich selbst gewinnt, auf eine neue Stufe ihrer Entwicklung zu heben, dürfte Poe jedesfalls nicht fremd gewesen sein. 24 Harry Lewin zitiert nach I.A. Richards, Poetic Process and Literary Analysis, in: Style in Language. Edited by Thomas A. Seboek, Cambridge, Massachu- setts

setting, as well as the (stereo-)typification of characters (including Not Sidney). For a sociologically informed literary analysis Bourdieu’s theoretical dyad of symbolic violence and habitus can serve as an interpretative prism to zoom in on the social nuances of Not Sidney’s negotiation of his own ‘place’ in the racial order. Whereas Everett creates Not Sidney not as a conventional character but as a figurative test- device, Bourdieu’s body-oriented, relational approach to human sociality allows us to focus on the author’s characterological re