Schul-, Praxis- und habituelles Herrschaftswissen. Bildung ländlicher Eliten mit Blick auf die korporative Selbstverwaltung in der frühmodernen Schweiz (18. und 19. Jahrhundert)

Knowledge taught at schools, everyday skills and practical know-how. The relevancy of formation for local elites and the corporative self-government of Early Modern Switzerland Daniel Schläppi, Bern There were different kinds of rural elites in Early Modern Switzerland. The diverse parts of the country developed in very dissimilar ways politically and economically. Some regions were dominated by traditional types of agriculture. Some territories were ruled by major cities. In some of the rural Cantons like Uri, Schwyz, Unterwalden, Glarus and Zug a political elite took control over generations and practiced a cultural lifestyle comparable to the famous aristocracies in cities like Bern, Basel, Freiburg, Luzern, Solothurn and Zurich. Intense proto-industrialization formed a completely different sort of elite with strong affinities to industry and trade in other regions. Meanwhile the habitants of the valley close-by stayed farmers like their ancestors (like in Appenzell). In the most conservative parts of the country mercenary business played an important role till the very end of the Ancien Regime and even furthermore. In summery the variety of historical circumstances caused heterogeneous elites all over. Such socio-political diversity provoked a variety of educational backgrounds. I an academic understanding of the term we know only little about literacy in local rural elites. But there is strong evidence that a lively culture of reading and story-telling existed. This means that even simple countrymen seem to have been in possession of some books. The organisation and capacity of the school system is subject of controversial discussions among up to date researchers. The state of research makes us suppose that the people designed to political careers learned their essential skills not only in school but also in everyday life or on the job. Based on the fact that every community and countless public corporations managed their affairs by their own it’s evident that the local elite’s key-players had a large repertoire of techniques and skills like writing, calculating, strategic thinking or knowledge of oral tradition, old usage or important rituals. Unfortunately the historical actors left not that many sources that would tell us precisely how knowledge and know-how were transferred in former times. Hardly any private account books or common correspondence have been conserved. But a huge bunch of sources that originate from corporative self-administration shows us that most local elites were well-educated and had the necessary skills anyway. Above all other sources like for instance the «Topographische Beschreibungen» (topographic descriptions) that were initiated by the «Ökonomische Gesellschaft» of Berne since the sixties of the 18th century provide an insight into pre-modern classrooms. More important information on the historical formation-reality can be gained by the autobiography of the famous poor peasant Ulrich Bräker (1735‒1798) or some of the novels by Albert Bitzius (1797‒1854, better known as Jeremias Gotthelf). The pedagogic writings by Johann Heinrich Pestalozzi (1746‒1827) and the influences by his mentors Johann Rudolf Tschiffeli (1716‒1780) or Philipp Emanuel von Fellenberg (1771‒1884) are quite illustrative as well.

"Fact versus Fiction – How paratextual information shapes our reading processes"

Our life is full of stories: some of them depict real-life events and were reported, e.g. in the daily news or in autobiographies, whereas other stories, as often presented to us in movies and novels, are fictional. However, we have only little insights in the neurocognitive processes underlying the reading of factual as compared to fictional contents. We investigated the neurocognitive effects of reading short narratives, labeled to be either factual or fictional. Reading in a factual mode engaged an activation pattern suggesting an action-based reconstruction of the events depicted in a story. This process seems to be past-oriented and leads to shorter reaction times at the behavioral level. In contrast, the brain activation patterns corresponding to reading fiction seem to reflect a constructive simulation of what might have happened. This is in line with studies on imagination of possible past or future events.

Literature after Postmodernism: Reconstructive Fantasies

Postmodernism, deconstruction and subversion have been the buzzwords of the last few decades. But not any longer. Ever since the end of the millennium an increasingly perceptible desire to turn towards other concerns can be noted. Only, what comes after postmodernism? Where are we going now? Irmtraud Huber suggests some answers to these questions, focusing on novels by Michael Chabon, Mark Z. Danielewski, Jonathan Safran Foer and David Mitchell and highlighting the ways in which they go beyond postmodernism and turn from deconstruction to reconstruction. Approaching the question from an unusual direction by exploring the novelists' particular use of the fantastic mode, this book offers both further insights into the present aesthetic shift and a new perspective on the literary fantastic.

Unnatural Narration beyond Postmodernist Alterities

Postmodernism has frequently employed unnatural narration with the aim to disturb and subvert conventionalized reading practices. Postmodernist discourses thus widely associate the unnatural with alterity, marginality and the suppressed. In this paper, I caution against such a perspective, which threatens to unduly limit our understanding of the broad variety of relations between natural and unnatural narrative on the one hand, and of the multiple possible functions of unnatural narratives on the other. Taking my cue from the use of unnatural narration in a number of recent novels, like Mark Z. Danielewski’s House of Leaves (2000), Michael Chabon’s Amazing Adventures of Kavalier & Clay (2000), or Yann Martel’s Life of Pi (2001), I will argue that a postmodernist approach which foregrounds ontological and epistemological questions and emphasizes alterity and subversion remains blind to some of the pragmatic implications that are the main concern of the unnatural narratives under consideration. This not only begs the question whether and in how far such a shift from ontological and epistemological towards pragmatic concerns constitutes a move beyond postmodernism, but also calls for a reconsideration of some of our widely established theories and assumptions about unnatural narratives.

Timely Tenses: Considering Present Tense Narration

When the jury of the Man Booker Prize 2010 chose three novels for their short-list that were written in present tense they earned some harsh criticism. To some, like Philipp Pullman, present tense narration seemed to be no more than an annoying fad, “a silly affectation,” which he criticises as a limitation to narrative possibility.1 Nevertheless, present tense narration is spreading fast, not only among Booker Prize nominees and winners. Indeed, it has become so common that it hardly seems to draw much attention anymore. But what is the appeal of present tense narration to contemporary authors? What effect does the choice of present tense narration have on the ways stories are told and read? This paper will address and compare the use of present tense narration in recent British novels by authors such as Hilary Mantel (Wolf Hall, Bring up the Bodies), Ali Smith (Hotel World, The Accidental ), Tom McCarthy (C) and others, looking for similarities and differences in their respective narrative rationale. In view of the heterogeneous and complex use of present tense in contemporary fiction, I would like to suggest, merely pointing to the pace of contemporary life and the simultaneity of new communication media does not suffice to adequately address a phenomenon that has become a characteristic feature of 21st century narration. 1 Laura Roberts. “Philip Pullman and Philip Hensher criticise Booker Prize for including present tense novels.” The Telegraph. 11. Sept. 2010.

Melodrama and Narrative Fiction: Towards a Typology

Recent research on melodrama has stressed its versatility and ubiquity by approaching it as a mode of expression rather than a theatrical genre. A variety of contexts in which melodrama is at work have been explored, but only little scholarly attention has been paid to the relationship between melodrama and novels, short stories and novellas. This article proposes a typology of melodrama in narrative prose fiction, examining four different categories: Melodrama and Sentimentalism, Depiction of Melodramatic Performances in Narrative Prose Fiction, Theatrical Antics and Aesthetics in Narrative Prose Fiction and Meta-Melodrama. Its aim is to clarify the ways in which melodrama, ever since its early days on the stages of late eighteenth-century Europe, has interacted with fictional prose narratives, thereby shaping the literary imagination in the Anglophone world.

Ein Autor von ›hypertropher Virilität‹. Geschlecht in der Musil-Rezeption der 1920er und 1930er Jahre

Adopting "The Man Without Qualities" as a decisively masculine novel, contemporary literary criticism passed on a trope with which reviewers such as Alfred Döblin, Robert Müller and Franz Blei had already characterised Musil’s earlier texts. The reviews of the novel are therefore typical of how evaluations in terms of originality in the literary-critical and poetological debates of the 20s and 30s were regularly translated into the established gender hierarchy. The need to make such judgements can be seen as much as the symptom of a modern consciousness of crisis in masculinity as the hyper-athletics of the novel’s hero himself and the pitiful figure cut by the other men in "The Man Without Qualities".

“But look: we have sat here too long”: Hilary Mantel’s tightrope walk of present-tense usage

Even after Hilary Mantel has won the Man Booker prize two times in a row with Wolf Hall and Bring up the Bodies, her novelistic account of the life of Thomas Cromwell, her intriguing decision to write these historical novels in the present tense gave cause to surprisingly little extended comment beyond a perfunctory nod to its evocation of immediacy. This presents not only a lacunae in the discussion about Mantel’s novels, but is also symptomatic for a change in the contemporary critical evaluation of present-tense narration in general. If present-tense narration once used to be a marker for experimental daring and might even have implied a certain hostility towards fictionality, Mantel’s novels give ample evidence that literary sensibilities have changed. In order to understand the scope and nature of this change, my paper puts Mantel’s use of the present tense in the context of both the historical development of present-tense usage and the ample contemporary landscape of present-tense narration. This allows me to show that the complexities of present-tense usage belie a reduction of its effect to an evocation of immediacy. Rather, I argue, Mantel uses it for a delicate tightrope walk between proximity and distance, history and fiction, authenticity and imagination.