Books in the Buchreihe Der Anglia / Anglia Book Series series

This book focuses on the tensions between processes of consciousness and their products like worldviews, theories, models of thought etc. Staying close to their technical meanings in chaos and catastrophe theory, chaotic processes are described in mainly neurobiological and evolutionary terms while products are delineated in their evolutionary logic. Given both a relative opacity of processes of the mind and of the outside world, the dramatic quality of the processes, a certain closeness to 'hysterical' and 'schizophrenic' tendencies and, within the context of the weakening orientating power of worldviews, an alarming catastrophic potential emerge.As a consequence, the book aims at a comparative cost-benefit analysis of the transitionality between 'chaotic' processes of consciousness and the often 'catastrophic' implications of their products within historical frameworks. The central thesis consists in the increasing failure in the orientation of action which cannot be contained by systems of ethics. Materials for this analysis are mainly drawn from texts normally called literary in which the tension between biographical and historical dimensions provides profiles of chaos and catastrophe.

The Anglia Book Series (ANGB) offers a selection of high quality work on all areas and aspects of English philology. It publishes book-length studies and essay collections on English language and linguistics, on English and American literature and culture from the Middle Ages to the present, on the new English literatures, as well as on general and comparative literary studies, including aspects of cultural and literary theory.

This book discovers the latent working of the theatre in British Romantic literature. It shows how two central writers, Wordsworth and Scott, were fascinated by theatre conceptions that could not be implemented on the British stage, and how they both addressed and practised this theatre in their own texts. The book works out the importance of the theatre both as a medium and as a discursive field to address aesthetic, political and epistemic questions around 1800. It proceeds to explore the failing implementation of this modern theatre in early dramas of Wordsworth and Scott and its continuing influence on their later works. Detailed analyses of Wordsworth's poetry and Scott's novels illustrate how both writers used the genres they chose to develop a specific form of textual theatre. Finally, the study shows how this theatre returned to the British stage to influence subsequent periods of theatre practice. This book, which also develops a new integrative model of intermediality, is relevant for everybody interested in British Romanticism or generally keen to learn about the fascinating relationship of literature and theatre.

The Anglia Book Series (ANGB) offers a selection of high quality work on all areas and aspects of English philology. It publishes book-length studies and essay collections on English language and linguistics, on English and American literature and culture from the Middle Ages to the present, on the new English literatures, as well as on general and comparative literary studies, including aspects of cultural and literary theory.

Pool was an avant-garde group that originated in 1927 in Britain and was active under this name until 1933. The group consisted of the well-known modernist poet H.D., the English writer Bryher, and the young Scottish writer and artist Kenneth Macpherson. All three were first and foremost writers, who at one point discovered film as another modern, experimental medium of artistic expression. Pool associated with almost all the iconic modernists of their time, with Ezra Pound, Gertrude Stein, Ernest Hemmingway, James Joyce, Marianne Moore, William Carlos Williams, T.S. Eliot, and Virginia Woolf, to name only a few. In addition, due to their interest in film, they were also befriended with such influential filmmakers as Sergei Eisenstein and Georg Wilhelm Pabst, and became closely associated with Weimar Berlin film culture.Pool unites classical Modernism and modernity, two directions that are usually considered to be contradictory. The Pool phenomenon opens a new perspective onto Modernism and prompts a reconsideration of its canonical texts and figures. Contrary to many artists of Modernism, who devised highly individualistic aesthetic styles, the artists of Pool strove towards a universal art of humanity that was rooted in all-human nature and psychology.