{"id":2105,"date":"2022-04-04T17:52:42","date_gmt":"2022-04-04T15:52:42","guid":{"rendered":"https:\/\/www.rombach-wissenschaft.de\/literary-science\/"},"modified":"2026-01-22T09:10:48","modified_gmt":"2026-01-22T08:10:48","slug":"literary-science","status":"publish","type":"page","link":"https:\/\/www.rombach-wissenschaft.de\/en\/literary-science\/","title":{"rendered":"Literary Science"},"content":{"rendered":"\n
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\n Literary Science\n <\/h3>\n \n
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Literary studies is the heart of our publishing house. Outstanding monographs and anthologies from modern philologies such as German studies, Romance studies, Scandinavian studies and comparative literature as well as from classical philology fill our series and yearbook portfolio. Our programme in literary studies is characterised by a high degree of interdisciplinarity and intermediality and integrates linguistic, cultural and media studies perspectives.<\/p>\n\n <\/div>\n \n \n <\/div>\n\n

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Publication Series<\/h3>\n\n <\/div>\n<\/section>\n\n\n
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\n Disability \u2014 Literature \u2014 Culture\n <\/h2>\n\n
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Edited by Klaus Birnstiel and Johannes G\u00f6rbert<\/strong><\/p>\n

The literary, cultural and aesthetic negotiation of human figurations and life worlds around axes such as \u203anormal\u2039\/\u203adeviant\u2039, \u203afunctional\u2039\/\u203adysfunctional\u2039 or \u203adisabled\u2039\/\u203anon-disabled\u2039 is one of the fundamental practices of social self-understanding. Literary texts produce and archive knowledge in the sphere of the conceptual unity of the difference between ability and disability and lend it aesthetic expression. Based on advanced theoretical models and approaches, the field of literary disability studies strives for an appropriate scholarly reconstruction of disability and ability in literature, the field of literature and cultural life in general. The series of publications entitled Behinderung \u2013 Literatur \u2013 Kultur<\/em>\u00a0(Disability\u2014Literature\u2014Culture) provides a forum for such research. It focuses on literary studies perspectives supplemented by contributions from the fields of the history of art, media studies and cultural studies.<\/p>\n\n <\/div>\n <\/div>\n <\/article>\n

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\n Litterae\n <\/h2>\n\n
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Edited by G\u00fcnter Schnitzler, Maximilian Bergengruen and Thomas Klinkert. Co-founded by Gerhard Neumann (\u2020)<\/strong><\/p>\n

Anthologies and monographs are collected in our publishing house\u2019s flagship series, which addresses current topics from the field of humanities, in particular based on interdisciplinary questions. Founded in 1988 by the distinguished Germanist Gerhard Neumann (1934\u20132017), this highly respected series has become irreplaceable in literature studies and cultural studies research.<\/p>\n

To the series<\/a><\/p>\n\n <\/div>\n <\/div>\n <\/article>\n

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\n Modernity and Media\n <\/h2>\n\n
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Studies in Literature and Media Culture in the 1920s<\/p>\n

Edited by Andreas Bl\u00f6dorn and Stephan Br\u00f6ssel<\/strong><\/p>\n

This series brings together contributions that focus on the literature and media culture of the 1920s in German-speaking countries and that, in particular, conduct textual analyses of social and cultural aspects in literature and theatre, photography, film and cinema, radio plays and radio, plus other forms of the media (e.g. magazines and journals). In this respect, the series focuses specifically on the intermedia and transmedia interplay and relationships between literature and the media, of which D\u00f6blin\u2019s novel Berlin Alexanderplatz<\/em> is a typical example, which was transformed into a radio play and a film, projects in which the author was also involved, and epitomised by Fritz Lang\u2019s two-part film Dr. Mabuse, der Spieler<\/em>, which was produced at the same time as the novel by Norbert Jacques was published in the weekly magazine Berliner Illustrirte<\/em> and which was promoted in the media with reports from the film set. In addition to addressing such interconnections between literature, culture and the media in the Weimar Republic, the series\u2014particularly in terms of the defining medium of film\u2014also examines international aspects of the changing media culture in the 1920s, in which the dimension of sound also accompanied the rise of the new \u203avisual culture\u2039 (B\u00e9la Bal\u00e1zs). With the development of talking films, an increasing number of international collaborative projects were launched, in which the film industry\u2014as typified by Der blaue Engel<\/em>, the film adaptation of Heinrich Mann\u2019s novel Professor Unrat<\/em>\u2014experimented with so-called multilingual productions in order to break into the US market and Hollywood above all.<\/p>\n

To the series<\/a><\/p>\n\n <\/div>\n <\/div>\n <\/article>\n

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\n Nordica\n <\/h2>\n\n
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Edited by Hanna Eglinger and Joachim Schiedermair<\/strong><\/p>\n

The series entitled \u00bbNordica\u00ab offers up-to-date literary studies contributions to Scandinavian studies in the form of monographs and anthologies. Since it was founded in the year 2000, the series has established itself above all as a forum for discussion and the application of cultural and media studies approaches to new Scandinavian studies. \u00bbNordica\u00ab offers its readers the chance to follow recent developments in interdisciplinary theory and methods with innovative reading matter on literature, film and other media from northern Europe. Interdisciplinary networking, the relevance of literary studies in general for Scandinavian studies and the significance of Scandinavian cultural heritage for interdisciplinary literature studies are important in this respect. Accordingly, the series has already published studies on the definitive authors of Nordic literature such as Strindberg, Ibsen, Hamsun and Inger Christensen, on Scandinavian contemporary and youth literature, which is widely read internationally, and also on the relation between text and pictures, and literature and radio or jazz.<\/p>\n

To the series<\/a><\/p>\n\n <\/div>\n <\/div>\n <\/article>\n

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\n Paradeigmata \n <\/h2>\n\n
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Edited by Bernhard Zimmermann in collaboration with Karlheinz Stierle and Bernd Seidenstricker<\/strong><\/p>\n

The series \u00bbParadeigmata\u00ab is dedicated to research into ancient culture and its reception in the modern world. It focuses on the legacy of Greek and Roman literature, but it also examines other fields such as mythology, religion, music and art. This series is linked with numerous international research centres and projects, and publishes anthologies on current research debates and monographs.<\/p>\n

To the series<\/a><\/p>\n\n <\/div>\n <\/div>\n <\/article>\n

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\n Philological Material Studies\n <\/h2>\n\n
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Edited by Angela Oster<\/strong><\/p>\n

This series examines phenomena relating to \u00bbPhilological Material Studies\u00ab, focusing particularly on literary studies. It addresses the question of what happens if things in texts are not only considered to be decorative motifs, but fundamental tenets and structural catalysts in the writing. Vice versa, it is also equally important not to analyse the writing as the provider of objects, but to focus attention on texts that are written on objects, such as poems written on works of art or quotations written on globes, etc. This series publishes monographs as well as anthologies and conference proceedings. It is intended as a forum for all those interested in this subject area, advanced students and specialist researchers from both subjects that fall under the umbrella of national philology and their related comparative disciplines.<\/p>\n\n <\/div>\n <\/div>\n <\/article>\n

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\n Philosophy and Literature\n <\/h2>\n\n
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Edited by Univ.-Prof. Dr. Stefan B\u00fcttner, M.A., Dr. Sarah Schmidt und Prof. Dr. Linda Simonis<\/strong><\/p>\n

Philosophy and literature have been related to each other since the dawn of history, and it seems extremely difficult to draw a clear dividing line between them. At the point where philosophy raises fundamental questions about the world and human existence, it encroaches onto a topic area also addressed by poetry and literature, although they use different means in doing so. This means that the relationship between philosophy and literature is not limited to a collection of related or mutual themes, questions and issues, but that it also particularly involves the reciprocal exchange of forms and formats of philosophical and poetic spoken and written expression. This series of publications intends to shed greater light on the fascinating interconnections between philosophy and literature, their affinity, mutual complementarity and differences, and in doing so to investigate both the literary dimensions of philosophy and the philosophical dimensions of literature using relevant case studies and selected problems.<\/p>\n\n <\/div>\n <\/div>\n <\/article>\n

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\n Textures\n <\/h2>\n\n
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Edited by Claudia Liebrand and Thomas Wortmann<\/strong><\/p>\n

This series is intended as a forum for a form of literary studies whose cultural studies expansion has been consolidated since the \u203aturns\u2039 in recent decades. The monographs and anthologies it publishes address the \u203atextures\u2039 which literature (and culture in general) is composed of: the literal materials and the media and cultural contexts that are inserted and interwoven into texts. These works and analyses are characterised by their openness towards incisive theoretical discussions in literary, media and cultural studies as well as their demands for innovative approaches.<\/p>\n

To the series<\/a><\/p>\n\n <\/div>\n <\/div>\n <\/article>\n

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\n The Changeable Knowledge of Literature\n <\/h2>\n\n
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Edited by Hans-Georg von Arburg, Maximilian Bergengruen and Peter Schnyder<\/strong><\/p>\n

Since 2015, monographs, anthologies and conference proceedings on subjects relating to the history of knowledge from literary studies and its related disciplines have been published in the series \u00bbDas Unsichere Wissen der Literatur\u00ab (The Changeable Knowledge of Literature). In addition to reflecting methodically on the relationship between literary texts and discursive contexts, the series focuses on the diverse and partly contradictory functions of literature in the production, discussion and diffusion of cultural knowledge. If knowledge is understood as a process rather than substance, the changeable knowledge of literature with its fiction, fantasies and fakes proves to be a key factor in understanding processes of knowledge production which need to be constantly reappraised.<\/p>\n

To the series<\/a><\/p>\n\n <\/div>\n <\/div>\n <\/article>\n <\/div>\n<\/section>\n\n\n

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\n Yearbooks\n <\/div>\n
\n Editions\n <\/div>\n
\n Introductions\n <\/div>\n <\/div>\n\n
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