Bildungsroman

"Guavas for Dummies, American Jíbaras, & Postnational Autonomy: When I Was Puerto Rican in the Hemispheric Turn" (2019) re-engages this text after I taught it in Puerto Rico four years. In this 2009 essay, Santiago’s memoir is said to bridge U.S. and Caribbean lit. WIWPR begins with a remembered Puerto Rico, and ends in the author’s adulthood in the USA. Studying Santiago’s text within a trajectory of immigrant narratives familiarizes the text to readers who are often processing their own entries into the US / its cultural orbit. This essay examines Santiago’s representation of jibaros, a subculture whose place in in Puerto Rico parallels the conflicted relationship many Jamaicans have with Rastafarians. Also, the theme of “Translating and Resisting Imperialism” is developed through a close reading of the chapter “The American Invasion of MacÚn.” Santiago’s treatment of gender roles in her family is also explored.

En este trabajo se analiza la relación entre la alimentación, el hecho de alimentarse, y el crecimiento, desarrollo, evolución o Bildung en tres novelas del siglo XX: The Bell Jar, de Sylvia Plath, The Catcher in the Rye, de J.D. Salinger, y The Black Album, de Hanif Kureishi.

This essay argues that L. P. Hartley’s novel The Go-Between (1953) fits into the critical tradition of the Bildungsroman in one specific sense: its attention to matters of deception. First, this plot of formation and development involves a necessary apprenticeship in deception: a moral training that has links with everyday practices of concealment in linguistic construal, social etiquette, and interpersonal trust, whose presence I track in the novel. Second, the novel’s framing screens the salient context of its production, the “angry decade” of 1950s Britain. I consider Hartley’s conservative distance from other writing on childhood and youth in the period, suggesting that his representation of deception relates to his critique of social and moral erosion in the postwar period. In the loose vehicle of a Bildungsroman where development is compromised, Hartley presents a novel whose formal structure, in its use of deceptive tropes, affords both its turning away from historical difficulties and its indirect critique of failing morals.

una verdadera cartografía del huracán neoliberal, escrita desde el interior mismo de la tormenta. Páginas escritas al calor de la urgencia de los acontecimientos, pero sin por ello renunciar al rigor analítico. Una obra que busca indagar hasta las profundidades de la dominación contemporánea del capital, sin nunca sucumbir a la resignación del presente. Por ello, sin dudas, la obra de Ricardo Forster busca situarse como un eslabón más en la historia del pensamiento emancipatorio que se identifica, quizás, con tan solo un imperativo ético irrenunciable: la persistencia en la lucha por la dignidad humana. La propuesta del texto es, entonces, la indagación de una época, pero también del largo recorrido histórico que nos trajo hasta aquí, para construir los recursos suficientes que puedan echar mano a un freno de emergencia que evite el gran colapso civilizatorio. Como decía aquel poema de Hölderlin: "allí donde está el peligro, crece también lo que salva".

Though individual genres have been studied in relation to postcolonial criticism, there has not, until now, been a critical intervention that considers what it is about genre itself that makes it useful for a postcolonial project and for writing contemporary Britain. This study analyses four new genres of literature and film that have evolved to accommodate and negotiate the changing face of postcolonial Britain since 1990. It reads shifting genre boundaries as a means of understanding shifting constructions of Britishness, arguing that both genres and nations have unstable boundaries that are, at least imaginatively, redrawn when the implications of postcolonial texts and contexts are taken into consideration. Questions of categorisation are always political, as borders are redrawn and criteria of inclusion and exclusion are negotiated, so genre fiction and film provide a unique space for exploring a contested national identity.

Résumé :



Le discours critique sur le roman-mémoires des années 1730 semble souvent hésiter entre deux attitudes antagonistes : soit il y discerne les signes d’une « naissance de l’individu » et y voit l’émergence du roman de formation (Bildungsroman). Soit il considère que ces catégories sont anachroniques : la notion d’« individu », comme être conscient de soi et de son intériorité affective et comme l’élément élémentaire dont se compose la société n’apparaît-elle pas seulement dans la deuxième moitié du XVIIIe siècle en particulier dans la réflexion de Jean-Jacques Rousseau ? et le roman de formation ne trouve-t-il pas son prototype en Allemagne, avec Les Années d’apprentissage de Wilhelm Meister de Goethe ? Mais en réalité, Rousseau et Goethe sont tous deux de grands lecteurs de romans-mémoires et ils s’en sont nettement inspirés dans leurs écrits. La présente thèse souhaite montrer que le roman-mémoires des années 1730 peut être analysé comme un roman de formation, dans la mesure où il décrit les étapes constitutives de l’identité d’un individu et porte une vision du monde sur sa place dans la vie sociale. Mais une telle hypothèse implique de s’interroger sur cette forme romanesque « rebelle à tout ordre » (Henri Coulet, Le Roman jusqu’à la Révolution) : Comment définir cette forme romanesque ? Quel est son rôle dans la cristallisation de la notion d’« individu » ainsi que du roman de formation ? C’est à ces questions que s’efforce de répondre cette thèse en analysant quelques œuvres emblématiques de cette nouvelle forme romanesque, ainsi que leurs enjeux, leurs dimensions philosophiques, esthétiques, politiques et anthropologiques et leurs contributions à l’avènement de l’individu et à l’émergence du roman de formation (Bildungsroman).



Summary :



The critical discourse on the memoir novel of the years 1730 often seems to hesitate between two antagonistic attitudes : either it discerns in it the signs of a "birth of the individual" and sees in it the emergence of the novel of formation (Bildungsroman). Or it considers these categories as anachronistic : did not the notion of the "individual" as a being conscious of itself and of its emotional interiority and as the basic element of which society is composed only appear in the second half of eighteenth century, most notably in the reflections of Jean-Jacques Rousseau ? And did not the novel of formation find its prototype in Germany, with Goethe’s Wilhelm Meister’s Apprenticeship ? But in reality, Rousseau and Goethe were both great readers of memoir novels and were clearly inspired by them in their writings. The present thesis hopes to show that the memoir novel of the years 1730 can be analyzed as a novel of formation, insofar as it describes the constituent steps of individual identity and carries a worldview regarding its place in social life. However, such a hypothesis implies asking some questions about this novelistic form, considered as "rebellious to any order" (Henri Coulet, Le Roman jusqu’à la Révolution) : How can this novelistic form be defined ? What was its role in the crystallization of the notion of the "individual", as well as that of the novel of formation ? These are the questions that this thesis attempts to answer by analyzing some emblematic works of this then new novelistic form, as well as their importance, their philosophical, aesthetic, political and anthropological dimensions and their contributions to the advent of the individual and the emergence of the novel of formation (Bildungsroman).

The world had changed after the World Wars and people were searching for new lives, new thoughts. These two world wars caused misery and striking alteration on the human psyche and their lives. Insecurity, distrust, lack of self-confidence are some outcomes of these wars. We also see these radical changes in art such as dystopian works narrating about new world order. In this work, the writer tells about a dystopic England.

The aim of the present study is to show what makes the protagonist of a Bildungsroman to be at the same time the hero of the monomyth. In order to achieve this purpose, after having defined and shown the essence of the Bildungsroman and the monomyth, we disclose the fictional pattern of the novel of formation with its thematic and structural elements interrelated to form a literary system, as well as the three-dimensional structure of the monomyth encompassing the aspects of separation-initiation-return. Finally, in matters of exemplification and practical argumentation, and relying on a comparative approach, we would reveal similarities and differences between the Bildungsroman and monomyth through textual reference to a particular novel, namely Great Expectations by Charles Dickens.

У раду се анализира такозвани свет одраслих сагледан очима детета и модуси његовог утицаја на идентитет и интегритет детета које о истом приповеда. Одабиром романа Живот је пред тобом (La vie devant soi, 1975) француског писца Ромена Гарија (Емила Ажара) и Лимени добош (Die Blechtrommel, 1959) немачког писца Гинтера Граса, желимо да испитамо проблематику дечје свести о себи и свету око себе, нарочито у послератном контексту у који се смештају поменути романи. Основни циљ нам је да расветлимо улогу детета-наратора и значај присуства лудичког елемента, при чему је дечји свет као такав у знаку лудичког. Посебан акценат стављамо на дихотомију деца-одрасли у оквирима романа о одрастању (Bildungsroman), као и на начин на који поменути лудички елемент фигурира као (де)конструишући принцип културолошки обликованог одраслог човека.

Кључне речи: дете-наратор, homo ludens, игра, Живот је пред тобом, Лимени добош, послератни роман, билдунгс роман

This article studies a version of female development contained in Elena Ferrante‘s My Brilliant Friend, one that opposes the typically male development of the Bildungsroman. The Neapolitan novels invoke ideologies of development often associated with the Bildungsroman but also carve out subversive paths to female Bildung. Viewing the relationship between the two protagonists, Lila and Elena, as modulated by generic tensions—one trajectory following the classical Bildung, the other resisting it—the article uses Rachel Blau DuPlessis‘s notion of transgressive narrative strategies, contending that the novels suggest a narrative of entanglement offering an alternative geometry of female development.

Este artículo plantea que The Tombs of Atuan es una novela de formación femenina que se aparta de los códigos tradicionales de la variante realista y hegemónica del subgénero. Esto debido a que presenta dos elementos no miméticos: un laberinto subterráneo como morada de dioses y la aparición de un mago. Ambos complejizan el proceso de crecimiento de la joven Tenar, su protagonista, e inciden en que su destino al final de la novela, pese a no culminar en una madurez plena, sí se abra a posibilidades alentadoras, distintas a las resoluciones fatalistas de la novela de formación femenina realista. Palabras clave: novela de formación femenina, literatura de fantasía, magia, laberinto, individuación.

Henry Wadsworth Longfellow’s poem Excelsior was published in 1841 and very soon came to be strongly associated with European Alpine mountaineering. Longfellow was influenced by German cultural approaches to mountains, mediated via the literature of the both the Sturm und Drang movement, German Idealism and pan-European Romanticism. The poem briefly recounts the tale of a young man struggling through Alpine peaks and passes to an unspecified fate near the Great St. Bernard Pass. Located by the faithful hounds of the monastery and half buried in snow, he still clutches in his icy hand ‘That banner with a strange device/Excelsior!’ Longfellow constructed his aesthetics of the infinite from Pre-Romantic, Sublime and Gothic elements but the literary topos of Excelsior owes most to German literary and philosophical sensibilities. This reverence for mountain landscapes and their symbolic importance was reinforced in German culture by romantic nationalism and the literature of young Germans’ self-discovery that had romanticized the ‘wild call of the mountains.’ The cult of doomed and evanescent youth is a feature of the Sturm und Drang. Above all, German Idealist thought found in the struggle to climb a mountain and attain a summit the perfect metaphor for the dialectical method and the teleological drive towards the Ideal, exemplified in Goethe’s Faust. The motifs of ascent, absorption into the Absolute and engagement in “aspiration without object” all place this within the domain of philosophical idealism. The phrase “Excelsior!” was adopted by mountaineers in the nineteenth century, Le Club Alpin Français choosing it as the club motto at the club’s foundation in 1874. It attained considerable cultural force amongst German speaking Alpinists experimenting with new forms of Lebensphilosophie that emphasized the cultivation of the will. The phrase lost much of its power through overuse, debasement, parody and ridicule but remains an epiphenomenal presence in literary appropriations of mountaineering.

Na presente dissertação, serão abordadas as relações entre o romance de formação e a literatura juvenil nas literaturas de língua inglesa. Apesar de suas particularidades, os dois gêneros têm em comum o fato de apresentarem contornos pouco definidos. Sendo assim, serão discutidas questões teóricas pertinentes a cada um deles a fim de chegar ao ponto central do trabalho: descrever e caracterizar o que seria o Bildungsroman juvenil. Três obras foram escolhidas para análise, Grandes esperanças (1860), de Charles Dickens, O apanhador no campo de centeio (1951), de J.D. Salinger – que serão usados para falar da tradição do romance de formação e da sua evolução – e Bateria, garotas e a torta perigosa (2004), de Jordan Sonnenblick, escolhido como exemplo paradigmático da manifestação desse gênero na literatura juvenil.

In dem Sammelband  Ultima Ratio? (hg. von Scholz/Schuchter) wird die Frage verhandelt, ob bzw. inwiefern Gewalt für uns Ausnahmezustand ist oder vielmehr ein alltägliches Ereignis, d. h., ob wir uns permanent oder nur vorübergehend in Räumen und Zeiten der Gewalt aufhalten. Die Gewalt, die in Judith Schalanskys "Der Hals der Giraffe" eine zentrale Rolle einnimmt, ist nicht eine strukturelle Gewalt, sondern eine der Biologie. Es ist das Naturgesetz, unter dem vor allem die Biologielehrerin selbst, aber damit auch alle anderen in dieser Erzählung auftretenden Figuren und Konstellationen zu leiden haben.

The purpose of this essay is to analyze how the novel ‘Invention of Wings’ can be seen as a Bildungsroman in the author's  portrayal of Sarah’s and Handful’s struggle against mental and physical enslavement. I analyze the different incidents in the novel that portray the features of a Bildungsroman as well as the characters mental and physical enslavement.
The story is told from the first person point of view, with Sarah and Handful alternating, but Sarah can be considered the protagonist of the novel as she seems more prominent and dominating in the pages of the book.
This essay focuses on her life and pin-points the different parts of the story where the features of Bildungsroman are evident. I will examine the psychosomatic growth of Sarah as the novel begins when she is of eleven years old and ends in her adulthood. I explain how the author uses the genre to depict Sarah’s growth into a confident, vocal woman who campaigns for racial and gender rights.
The features of a Bildungsroman examined are: the protagonist’s psychological and moral growth, experiences that change the protagonist’s perspective, struggles, hardships faced in leaving home and on return, introspection and most importantly, attaining ultimate maturity in the end.
I also compare and contrast the physical and mental enslavement of the two women. Handful plays a vital part in Sarah’s struggles and the subsequent victory over her condition. The life of Handful, a slave, can also be seen parallel to that of Sarah’s growing up story, as Handful transcends the shackles of slavery that hold her down realizing the metaphorical meaning in the myth of Africans having wings that were supposed to help in flying to freedom. I conclude that the story of the two women’s struggles can indeed be seen as a Bildungsroman.

In the novel Great Expectations by Charles Dickens, Pip goes through several stages and encounters with several characters which shape his character from an innocent scared little boy into a production of the capitalist London society. Pip, coming from the lower class and not fitting in to the upper class and always living in the shadow of his former self, before his "expectation," struggles to exist as an individual in this society. Keeping in mind that Pip's story is told as a bildungsroman in which, through his struggles Pip finds himself, from his childhood to his adulthood, this paper will examine how his encounters with certain people, the characters of these people and his encounters with certain places shape his character from the beginning as a low-class child to a property of the upper-class and how he mediates, in a way, finds a solution to this situation through the novel morally, socially and in relation to his economic situation.

Straddling the millennia, in another era of great social transformation and uncertainty, the Harry Potter series emerges as a kind of postmodern Bildungsroman, charting a young person’s development (or Bildung) through a complex world of magic and reality.  The advent of Harry Potter coincides (perhaps not coincidentally) with the emergence of a postmodern condition, in a world transformed by globalization and by mass media’s penetration of the remotest regions of the globe, where the assurances of a previous era no longer hold true.  Magic adds greater wonder to the stories, but also provides a strategy for making sense of the world.  The magical world of wizards, house elves, trolls, dragons, and Dementors, inter alia, constitutes a kind of meta-world, a realm just beyond the senses of most Muggles but which is intimately related to our own, often terrifyingly real, world (as is movingly portrayed in “The Other Minister” chapter of Harry Potter and the Half-Blood Prince).  J.K. Rowling’s powerful reversal of the notion of destiny—in showing that what some call fate is precisely the result of individual choices, whether it was Harry’s direction to the sorting hat (“Not Slytherin!”) in The Sorcerer’s Stone, or Voldemort’s self-fulfilling prophecy in choosing to kill Harry—offers powerful evidence that “the way of the world” is frequently what we make of it, a valuable lesson for students and teachers alike.

Reading the Modernist Bildungsroman. Gainesville: University Press of Florida, 2006. ix + 336 pp.

"Reading the Modernist Bildungsroman" is both a literary history of genre and an exploration of the modern, gendered subject. It focuses on James Joyce, Thomas Hardy, D. H. Lawrence, Oscar Wilde, and Virginia Woolf. My inclusion of English and Irish texts underscores the transnational dimension of modernism even as it calls our attention to important differences in the reception of the Bildung concept. Drawing on Theodor W. Adorno’s theory of “negative dialectics,” I argue that the modernist Bildungsroman stages the failure of its own narrative telos (the dialectical harmony of social responsibility and personal desire) – a failure that does not prevent the modernist hero from perfecting (or trying to perfect) what Johann von Goethe and Wilhelm von Humboldt called “inner culture” (Bildung). Bildung meant for these thinkers an ideal of self-formation that entailed the harmonious development of an individual’s emotional, ethical, intellectual, artistic and spiritual faculties. For the protagonists of modernist Bildungsromane, this process is often disharmonious, due as much to self-reflection on the Bildung concept as to any kind of repressive function. Adorno’s negative dialectics theorizes this disharmony, in which the negative term of the dialectic, rather than being subsumed into the positive term (of self-identity), asserts its own presence and thereby creates new, sometimes disturbing, contexts for Bildung. Modernist Bildungsromane critique classical dialectical narratives of harmonious self-formation, even as they reclaim a classical conception of Bildung. This transformation of Bildung exemplifies modernism’s radical conservatism, which paradoxically creates alternatives to socially pragmatic educational systems and the ideal of the “subject” they seek to reproduce.

This essay argues that Kazuo Ishiguro’s Never Let Me Go reshapes colonial subjec- tivity through a sense of loss.
By borrowing Homi Bhabha’s notion of mimicry, which char- acterizes colonial subjectivity as a state of ambivalence between assimilation and dissimilation, I explore how the clones’ collective retrospection posits Norfolk as the site of subject-forming loss and how Kathy’s narrative voice gradually signals the emptying
of self.

RESUMO: A fim de compartilhar o fórum de reflexões literárias concernentes ao Bildungsroman, o artigo que apresento resulta da minha pesquisa sobre a  literatura  de  Novalis,  a  partir  da  compreensão  dos  contextos  e debates  poéticos  que  concernem  à  composição  de Heinrich  von Ofterdingen,  romance  que  permaneceu  inconcluso  e  passível  de interpretações  dos  manuscritos  e  da  crítica  dos  prototextos,  após  a morte  do  escritor.  A  essa  incompletude  circunstancial  soma-se  a  do caráter específico  do  gênero  textual  romance  composto  de  abstrações de  valores  morais,  religiosos  e  de  personificações  dos  elementos  do mundo  orgânico  e  inorgânico,  o  que  pressupõe  a  ocorrência  de  uma alegoria literária.  Considerando  a  complexidade  do  texto,  este estudo desencadeia    a    leitura    crítica    com    os    primeiros    comentários identificadores  resultantes  da  leitura  atentiva,  visando  a  tradução,  a descrição,  a  análise  e  a  interpretação  de  um  fenômeno  poético  mais amplo, o Romantismo.
PALAVRAS-CHAVE:Bildungsroman;Heinrich von Ofterdingen;Novalis;Flor Azul;Romantismo;Poesia.

ABSTRACT: In order  to  take  part  in  the  forum  of  literary  reflections  concerning  the Bildungsroman,  the  paper  I  present  results  from  my  research  studies  on  the literature  of  Novalis,  from the  understanding  of  the  contexts  and  poetic debates  about  the  composition  of  Heinrich  von  Ofterdingen,  novel  which remains unfinished and passible for the interpretation of the manuscripts and of the criticism of the prototexts, after the death of the writer. Besides of this circumstantial  incompleteness,  it  adds  to  it  the  specific  character  of  the novel’s textual genre, composed of abstractions of moral and religious values and  personifications  of  the  elements  of  the  organic  and  inorganic  world, which  presupposes  the  occurrence  of  a  literary  allegory.  Considering  the complexity  of  Novalis  literary  text,  this  study  triggers  the  critical  reading with  its  first  identifying  comments  that  resulted  from  close  reading,  aiming at the translation, description, analysis and interpretation of a broader poetic phenomenon: Romanticism..

KEYWORDS:Bildungsroman;Heinrich von Ofterdingen;Novalis;Blue Flower;Romanticism;Poetry.

"Grant's prose style is relentlessly cool and stark, serving as X-ray vision that registers the hardest truths without prettification.” The Boston Globe

This is an excerpt from the 1995 novel, The Passion of Alice, a story about Catholic conversion, anorexia, and lesbian desire. A fictional novel (not autobiographical), The Passion of Alice was long-listed for Britain's Orange Broadband Prize for Fiction and was a finalist for the Lambda Literary Award for Best Lesbian Fiction.

The article uses the example of the European bildungsroman as represented paradigmatically in Johann Wolfgang von Goethe's Wilhelm Meister's Apprenticeship (1795 – 96) to investigate the effects of reading. Goethe's text is sensitive to the embodied encounters that shape how we relate to the experience of reading, showing the forms of sensuous interaction in which literary reading has its roots. The model of reading presented in Goethe's text is contextualized with reference to debates about fiction circa 1800 but also to developmental psychology research into the emotional preconditions of an engagement with narrative and to recent discussions of the so-called paradox of fiction. To explore in more concrete terms the effect of reading Wilhelm Meister's Apprenticeship, the article then turns to George Eliot's response in Daniel Deronda (1876). Goethe's novel appeals to the bodies of its characters and its readers. Eliot responds to this appeal by emphasizing that bodily reactions are themselves always shaped by history. However, it takes a certain sort of openness, which is learned more through interaction than through fiction, for characters and readers alike to confront the challenges and opportunities that an insight into the embodied nature of larger historical processes presents.

This paper seeks to study the relationship between the mother-daughter in two of her earliest novels; The Grass is Singing and Martha Quest, employing the ideas regarding this relationship discussed by Nancy Chodorow in her book The Reproduction of Mothering and argues that the protagonists of these two early novels by Lessing are essentially " matrophobic ". Their matrophobia, however, does not prevent them from being victims of the same fate as their mothers before them, particularly in the kind of lives they choose to lead and the marriages which trap the protagonists of both the novels.

INTRO: Merle Hodge‘s Crick Crack, Monkey, first published in 1970, is a significant text in the body of anglophone Caribbean literature.  The term ―crick, crack‖ refers to a Caribbean oral tradition, call and response technique in which, at the beginning or end of a story or folktale, the storyteller calls "Crick?" and the audience responds "Crack!" The exchange signifies that both the audience and the storyteller are aware that the story is fictional or separate from reality. Crick Crack, Monkey is a bildungsroman or a coming-of-age novel that focuses on the development of a young female protagonist, Tee (Cynthia), in Trinidad.  Readers witness the development of Tee under the care of her two aunts, Tantie (Rosa) and Beatrice.

Walkabout (Nicolas Roeg, 1971) is a film about transitions: movement between childhood and adulthood, country and city, pre-modernity and modernity. My analysis of Roeg’s classic is part of a study of the genre of environmental film: representations or re-visioning of the human-nature relationship. I explore Walkabout’s transitions by observing how the film interweaves two coming-of-age stories: an aboriginal youth, Black Boy (David Gumpilil) on a walkabout (a trial to prove his readiness for manhood); and the Anglo children, Girl (Jenny Agutter) and White Boy (Lucien John, the director’s son), he rescues in the Australian outback, especially a girl on the threshold of womanhood. But these rites of passage in turn contribute to the film’s larger fabula told primarily through visual narrative: a critique of the post-industrial world’s attitudes towards nature, including its disconnect from (or repression of) what is untamed or natural in human nature.

In Mister Pip (2006), New Zealander writer Lloyd Jones transfers Charles Dickens' Great Expectations to Papua New Guinea. Through a skilful play of metanarrative cross-references, Jones gives lifeblood back to the Victorian text while creating a new artistic work in which the 19th century enters into a dialogue with contemporary times o ering its reader a modern 'female' Bildungsroman. This paper explores how Great Expectations turns out to be instrumental for the growth of Matilda, Jones's main character, and for the development of the plot in a way that invites us to reflect on the imaginative power of literature and the unpredictable nature of its consequences in the world outside literary fiction.

The first complete and annotated English translation of Maimon’s influential and delightfully entertaining memoir

Solomon Maimon's autobiography has delighted readers for more than two hundred years, from Goethe, Schiller, and George Eliot to Walter Benjamin and Hannah Arendt. The American poet and critic Adam Kirsch has named it one of the most crucial Jewish books of modern times. Here is the first complete and annotated English edition of this enduring and lively work.

Born into a down-on-its-luck provincial Jewish family in 1753, Maimon quickly distinguished himself as a prodigy in learning. Even as a young child, he chafed at the constraints of his Talmudic education and rabbinical training. He recounts how he sought stimulation in the Hasidic community and among students of the Kabbalah—and offers rare and often wickedly funny accounts of both. After a series of picaresque misadventures, Maimon reached Berlin, where he became part of the city's famed Jewish Enlightenment and achieved the philosophical education he so desperately wanted, winning acclaim for being the "sharpest" of Kant's critics, as Kant himself described him.

This new edition restores text cut from the abridged 1888 translation by J. Clark Murray, which has long been the only available English edition. Paul Reitter's translation is brilliantly sensitive to the subtleties of Maimon's prose while providing a fluid rendering that contemporary readers will enjoy, and is accompanied by an introduction and notes by Yitzhak Melamed and Abraham Socher that give invaluable insights into Maimon and his extraordinary life. The book also features an afterword by Gideon Freudenthal that provides an authoritative overview of Maimon's contribution to modern philosophy.

Lettura in chiave metaletteraria del personaggio del giudice Holden e dell'intreccio intertestuale che caratterizza Blood Meridian (1985) di Cormac McCarthy.

Link al sito della rivista: http://www.treccani.it/magazine/chiasmo/lettere_e_arti/Frontiere_confini/cormac_mccarthy.html

In Jean Pauls "Kardinalroman" sind zahlreiche Verweise auf den Schauerroman zu finden. Doch welche Funktion haben sie und welche Rolle spielt das "groteske Testament"?
In: Barry Murnane/Andrew Cusack: (Hrsg.): Populäre Erscheinungen. Der deutsche Schauerroman um 1800. Paderborn, München: Fink 2011, S. 269-290.

Dickens shows in Great Expectations how strenuously difficult life can be in Victorian Age, with the struggle of working class opposed by the lavishness of decadent aristocracy and eminent changes that were taking place. By analysing Pip's journey through life from his poor childhood to his good fortunes of early adulthood it is clear how Pip is portrayed as an agent of social changes. How he actively pursues changes in his social condition and mingles among different classes due to the importance of his actions and, even more, his reactions to the world makes the hero of this novel a fine example of how a protagonist in a Bildungsroman invariably is a representative of the conflict of classes and the necessity of social reforms at the time.

The concept of bildungsroman is studied in the novels Great Expectations by Charles Dickens and The Goldfinch by Donna Tartt by integrating the experiences of the protagonists. Their character growths follow a similar arc as they start off as naive young boys and evolve into well experienced men. The struggles they face from a young age, and the way they deal with the problems of life, the choices they make and the beliefs they hold are examined. The characters they come across and the role they play in the development of the lives of the protagonists are also compared and contrasted.

The article offers a systematic critique of identity politics and intersectionality that today dominate Western mainstream literary theory and Anglo-Saxon literary production by bringing to the fore a much overlooked critical intervention on the part of materialist (literary) system theorists and Western Marxist feminists. It then dissects the ways in which the trappings of identity politics and its upgraded version of intersectionality are manifested in Sandra Cisneros's The House on Mango Street, with the class in the triad of class, race and gender eventually weakened and removed from view.

Se analizan las características de la autoficción que se presentan en la novela, haciendo énfasis en la cuestión de la formación identitaria de la autora-narradora-protagonista. Se retoman cuestiones de la figura de autor y las influencias literarias.