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4. Novel In 2012, journalist Bryan Appleyard blogs that despite the long tradition of the theme of war in Western literature “the big new British war novels have not yet ap- peared.” Literary scholar Roger Luckhurst shares the position that the recent wars have not generated a concise literary reaction and argues that, in fiction, the Iraq War is mainly treated indirectly (“In War Times” 713, 715). On closer inspection, British novelists have not been as negligent of the Afghanistan and Iraq Wars as such comments suggest. Soon after the conflicts arose in the

Comic, Graphic Novel und Serialität BERND DOLLE-WEINKAUFF Über Graphic Novels zu sprechen heißt nicht erst in der Gegenwart, sich auf be- grifflich unsicheres Terrain zu begeben und Widerspruch von vielen Seiten her- auszufordern. Immerhin dürfte Konsens darüber bestehen, dass diese Bezeich- nung sich international einigermaßen etabliert hat als literaturkritischer Wer- tungsbegriff zur Abgrenzung bestimmter ambitionierter, zeitgenössischer Text- sorten des Comic vom Gros der herkömmlichen Comic-Literatur – ja, in gewis- ser Weise als Gegenbegriff zu

331 Jean-Pierre Balpe A Town as a Novel An Interactive and Generative Literary Installation in Urban Space Preliminaries What is literature and how can we define its place in techno-culture? We are so used to the connection between literature and book that we no longer even ask this kind of question, believing that literature cannot be located outside of books as something that directly defines its form, functions and contents. This state of affairs has produced quite definite separations of genre, defined by more or less implicit rules, even though

Bluebeard’s ‘Closet:’ Gothic Novels PHalliC Power: HoraCe walPole’s The CasTle of oTranTo In 1764, Horace Walpole published The Castle of Otranto, “his sole experiment in the novel form” (Clery 2009: 101), which would inaugurate the genre of Gothic fic- tion. While, in the first edition, the novel claimed to be a translation of a medieval Italian manuscript, Walpole, encouraged by the story’s success, acknowledged his authorship in later editions, describing the novelty of his writing as “an attempt to blend the two kinds of romance, the ancient and the

Graphic Novel – eine ›illegitime‹ Medienkombination? Thomas Becker (Berlin) Literaturwissenschaftler werden sich wohl fragen, was eineGraphic Novel ist, und sogleich so etwas wie ein illustriertes Buch assoziieren. Graphic- Novel-Autoren würden jedoch eine solche Beschreibung wegen der darin anklingenden Dominanz des Textes gegenüber dem Bild vehement zu- rückweisen. Will Eisner setzte 1978 als Erster den Begriff der Graphic Novel in seinem Comic A Contract with God auf die Titelseite.1 Er hatte den Begriff zwar nicht erfunden, aber durch ihn wurde er zum Adelsti

Appendix: London Novels (1997-2007) 1997 Baddiel David Time for Bed Banville John The Untouchable Brookner Anita Visitors Bruen Ken The Hackman Blues Butler Gwendoline Coffin’s Game Charles Paul I Love the Sound of Breaking Glass Cody Liza Musclebound Cole Martina The Runaway Dobbs Michael Goodfellowe MP Evaristo Bernardine Lara Frewin Anthony London Blues James P.D. A Certain Justice McFarland Dennis A Face at the Window Newland Courttia The Scholar Nicholson Geoff Bleeding London Perry Anne Ashworth Hall Perry Anne Whited Sepulchres Perry Anne The Silent Cry

4. “Just some kind of nerve impulse in the brain”: Substances and Subjects in the Novels of Don DeLillo Travelling in thought from the position of par- ticipant-observer in the physical and social world ‘through’ the face and into the machin- ery that lies behind we are transported, like Alice through the looking glass, to a very dif- ferent world. We go from a bright place of persons, selves, and subjective experience, to a dark, silent, enclosed, world of phys- ics, chemistry, and biology. It is a mysterious  journey. Paul Broks, Into the Silent Land One

DCS | Digital Culture and Society | Vol. 3, Issue 1 | © transcript 2017 DOI 10.14361/dcs-2017-0104 Experimenting with Novel Socio-Technical Configurations The Domestication of Digital Fabrication Technologies in FabLabs Sabine Hielscher Abstract Grassroots digital fabrication workshops (such as FabLabs), and associated technologies (such as 3D printers), are attracting increas- ing attention as a potential source for addressing a variety of social and environmental challenges. Through an analysis of an in-depth case study on FabLabs, this paper aims to

Hermaphroditus ♥ Middlesex: Novel Interpretations of Old Myth LO(O)SING PLENTY: INTERSEX IN FICTION AND MYTH Intersex, a term that was coined in 1916, was used in medical and psychological discourses throughout the 20th century. From the 1990s onwards, the term was appropriated by intersex activists and became known to a wider audience by their awareness-raising work. LGBT audiences, especially, grew more familiar with the term and the politics surrounding the concept by the late 1990s, and a number of inclusive gay and trans* rights

The Contested Secret Room: Sensation Novels Powerless landlords: wilkie Collins’ The WoMan in WhiTe Wilkie Collins’ 1859/60 The Woman in White is generally considered to be one of the first novels that inaugurated the short-lived genre of sensation fiction. Domes- ticating the horrors of the Gothic, Collins portrays female characters who, threat- ened by a patriarchal system that affords them neither social nor financial security, cleverly subvert the power structures that oppress them. In The Woman in White, a text “riddled with sexual and gender anxieties