Das Böse in der Literatur (German Edition)
Bibliographie der utopischen und phantastischen Literatur This equivalent of Bleiler's Checklist of Fantastic Literature by a German book collector lists a large number of fantastic and SF works; but regrettably, like Bingenheimer's bibliography, it includes titles which the author has not seen and which he should have omitted either because they do not qualify generically or because they are "bibliographical ghosts.
Still, although neither complete nor completely reliable, Bloch's is the most extensive listing available and contains many genuine discoveries, books which were formerly known only to a handful of the most assiduous collectors. Science-fiction in der DDR. Personalia zu einem Genre. Other Collaborative Studies of SF. Among introductions to SF, none is better and more comprehensive than Science Fiction. This is a collaborative effort on the part of three German professors of English literature, who have divided among themselves the task of treating the three topics named in their subtitle.
Without neglecting SF history their succinct write-up does justice to the subject , they also offer a fresh approach to the narrative techniques and conventions of SF. Matters of "theory" fall to Ulrich Suerbaum. SF worlds, he argues, are constructed from only a small set of principles, such as: Suerbaum also explores the connections the fiction has to history, non-fiction, science, and world-views.
Ulrich Broich considers themes in SF.
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Among those which he discusses are travels in time and space, imaginative voyages, space travel time travel, conflicts and catastrophes, alternate worlds, a changed Earth, other planets, parallel and fantasy worlds, superman, sub-man, aliens, new alternative forms of social, sexual, and religious behavior, artificial human beings and computers, and science generally. In another segment, Broich examines the relationship between SF and: Also noteworthy is Borgmeier's essay on "World-View," and especially what he has to say about the relationship between SF and the mainstream, their differentia specifica and what they have in common, their narrative forms, etc.
Contrary to Darko Suvin's understanding of "cognitive estrangement," Borgmeier regards the "familiarization of the alien" as the most typical SF technique. If the book has one weakness, it is its concentration on English-language SF with exception made only for Lem, who is mentioned a couple of times. In general, however, this is by far the best German introduction to the analysis of SF--fair, concise, erudite, well-written, and containing a number of genuinely new observations.
Most of the other contributors are students of Slavic languages; only one is a journalist she interviewed Arkadi Strugatsky and one myself, on Polish SF an editor. Among the contents are essays on the SF of Alexandr A. Bogdanov, Ilya Ehrenburg's catastrophic novel Trust D. The volume also contains a valuable 39pp. Mars has caught the imagination of fantasy writers more than any other planet, and not only since the discovery of its "canals" a mistranslation of the Italian, but one which Schiaparelli himself finally tended to accept and Lovell's popularization of them.
That Mars might be a sister planet of Earth, perhaps older and therefore more advanced, quickly became one of SF's favorite notions. The value of the Abret-Boia study does not really lie in any new interpretation of such well-known works as H. Instead, the usefulness of Das Jahrhundert comes from the wealth of little-known sources it uncovers. Some famous writers have written on Mars Guy de Maupassant, for instance, who wrote "L'homme de Mars"  ; but most stories on the subject are by hacks who just wanted to tell a ripping story; and hence a statistical survey would probably reveal that monsters from Mars predominate.
So are the Russians--besides E. Representing England is the theological SF of C. The monograph concentrates on historical material; relatively recent works are mentioned only in passing, except for Bradbury's Martian Chronicles and Heinlein's Stranger in a Strange Land , both of which come in for extended treatment.
The book is well-written and illustrated with rare reproductions; and while lacking a bibliography, it has a helpful index. In recent years, criticism of SF has also appeared in various SF anthologies that, following the example of my Polaris series soon up to number 10 , combine stories and essays. West Germany has had three such series not counting Polaris: Alper-- SF Jahrbuch and SF Almanach , both annuals and both containing material aimed more at fans than at scholars of SF in the case of the Jahrbuch, such material includes surveys of the SF output of the previous year. A similar almanac, edited anonymously, appears also in the GDR: Studies of Utopian Fiction.
Berghahn and Hans Ulrich Seeber. Mercier, Etienne Cabet, dystopias in general, and H. The essays are usually of a high standard; all are informative, and frequently they also offer surprising new insights.
Both are similarly organized and their contents overlap; they are well-written, nostalgic popularizations illustrated with reproductions of the covers of rare old books and magazines, advertising from the latter, and the like. They also contain some genuine discoveries and break much new ground.
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Ein Roman aus dem ein und zwanzigsten Jahrhundert and counted by many as the first German SF novel , and about Voss's futuristic play Berlin in the Year By quotation, illustration, and amusing synopsis, Ritter manages to evoke an entertaining picture of past expectations about the future. Other Studies of German SF. The growing literature on the German fantasist Paul Scheerbart has been enriched by a new dissertation: Eva Wolff's Utopie and Humor. Aspekte der Phantastik im Werk Paul Scheerbarts. Wolff explores hithertho untapped sources on Scheerbart e.
In another long section of her work, she discusses architecture and utopia. Scheerbart's "glass architecture" did indeed exert some influence on certain German architects, and notably on Bruno Taut, who realized some of Scheerbart's ideas in his buildings.
Scheerbart was not only fascinated by technology and architecture in a very playful way; he also had a strong love of fairy tales and dreams of a better world. Like his fiction, his brief journalistic works show a tendency towards humor, satire, and grotesque exaggeration. The comical and grotesque is his favorite literary mode; he breaks up traditional forms, parodies many genres.
Among the first in Germany to write nonsense poetry and onomatopoetic poems, he was also an important forerunner of literary expressionism. Scheerbart's prose destroys existing forms and existing reality; and from the pieces of that reality, he builds anew an aesthetic world whose fantastically grotesque exaggerations make visible the inhumanity and unreasonableness of the human world.
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The newly created special award for new talents carries a value of 10, Euro. Both are also financed by the Federal Ministry. Since the award was established, many changes have been made. When the Deutscher Jugendbuchpreis as the award was known until began in , only two categories were recognised; Best Children's Book and Best Youth Book.
In addition to these, a special prize was awarded every year in a different category. The final category recognized today, awarded by the Jugendjury , was not introduced until , when it was originally called the Young People's Prize Preis der Jugendlichen. In , to celebrate the 35th anniversary of the award, the special award for lifetime achievement was reintroduced to recognise individual achievement for writers, illustrators and translators.
Awards are decided upon by three juries: The Kritikerjury decides the nominations and the majority of the prizes; the Jugendjury only decides the Jugendjury prize. The Sonderpreisjury awards the special awards for lifetime achievement and new talents.